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ART  AND  ARTISTS 
OF  INDIANA 


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ART  AND  ARTISTS 
OF  INDIANA 


2    BY 


MARYqQ.  BURNET 


WITH   ILL^TRATIONS  OF   THE 

WORK  or  INDIANA  ARTISTS 

Am)  SCULPTORS 


«3 


NEW  YORK 

THE  CENTURY  CO. 

1921 


ART  AND  ARTISTS 
OF  INDIANA 


BY 


MARY  Q.  BURNET 


WITH   ILLUSTRATIONS   OF   THE 

WORK  OF  INDIANA  ARTISTS 

AND  SCULPTORS 


NEW  YORK 

THE  CENTURY  CO. 

1921 


Copyright,  1921,  by 
The  Century  Co. 


LOAN  STACK 


Printed  in  the  U.  S.  A. 


GIP9P 


DEDICATED     TO     MY     HUSBAND 

H.  B.  BURNET 

WHO     HAS    EVER    ENCOURAGED 

MY    DESIRE     FOR    THE     BEAUTY 

THAT  ENRICHES   LIFE 


L      285 


AUTHOR'S  NOTE 

THE  appreciation  of  art  in  Indiana  has  made 
a  splendid  growth  within  the  last  decade. 
It  has  been  encouraged  and  fostered  by  the 
women's  clubs  studying  art,  and  by  the  Indiana 
Artists'  Traveling  Exhibition,  which  has  been 
sent  out  annually  by  the  Art  Committee  of  the 
Indiana  Federation  of  Clubs.  This  has  made 
an  exhibit  of  original  art  possible  in  the  large 
cities,  as  well  as  in  the  smaller  villages  of  the 
state.  The  intelligent  instruction  in  art  given 
in  the  public  schools  is  rapidly  creating  a  definite, 
discriminating  taste  and  enjoyment  for  better 
decoration,  pictures  of  worth,  and  architecture  of 
intrinsic  value. 

It  is  our  privilege  to  be  the  custodian  in  our 
time  of  the  heritage  of  those  who  are  to  come. 
The  art  of  Indiana  for  years  was  very  meager, 
but  the  future  art  promises  to  rank  with  that  of 
the  best.  A  New  York  art  critic  recently  said: 
"The  art  and  artists  of  Indiana  lead  all  other 
states  in  number  and  quality  of  production." 

The  lack  of  perspective,  and  the  connecting 
link  of  the  ever-present,  renders  the  writing  of 
history  difficult.    To  retrace  the  steps  and  be  ac- 

vii 


AUTHOR'S  NOTE 

curate  at  the  close  of  the  first  century  is  not 
easy.  The  present  work  is  the  gathering  together 
of  material  that  will  be  helpful  to  the  future  his- 
torian, of  things  accomplished  by  the  artists  who 
have  lived  and  hoped  and  struggled  in  Indiana. 
In  the  one  hundred  years  that  have  passed,  art 
has  played  a  minor  part.  There  have  been  few 
permanent  records  made  to  which  to  turn  for 
assistance.  There  may  be  mistakes  and  omis- 
sions, but  we  have  endeavored  to  include  in  the 
"Who  Is  Who"  all  artists  who  have  been  con- 
nected with  the  state. 

No  attempt  has  been  made  to  give  a  critical 
analysis  of  motifs  or  technique.  The  artists  of 
Indiana  belong  to  the  future,  not  to  the  past. 
Time  will  prove  the  value  of  their  work,  and 
coming  generations  may  condenm  or  approve. 
To  read  the  biography  of  an  artist  or  a  catalogue 
of  his  pictures  is  not  art.  To  read  this  book  is 
scarcely  to  understand  our  artists  a  whit  better. 
"By  their  works  ye  shall  know  them."  When 
one  owns  one  or  more  of  an  artist's  paintings, 
there  begins  to  develop  an  understanding  and 
a  revelation  of  that  deeper  beauty  and  fuller 
harmony  that  comes  to  the  artist  as  he  has  ex- 
pressed a  part  of  himself  in  his  canvas.  To 
have  a  discriminating  understanding  of  a  single 
picture  leads  to  a  higher  appreciation  and  appli- 
cation of  many  things  esthetic. 

viii 


AUTHOR'S  NOTE 

Let  us  make  our  acknowledgment  to  the  beauty 
and  art  of  our  environment.  Let  us  be  fair- 
minded   critics,   and  learn  to   comprehend   the 

work  of  our  artists,  rising  above  the  trite  com- 

•  

ment,  "I  know  what  I  like."     The  real  artist 

sees  with  his  imagination,  drinks  in  the  harmonies 

of  nature,  and  is  the  greater  for  expressing  the 

beauty  of  our  own  Hoosier  state,  uninfluenced  by 

the  stereotyped  trend  of  the  masses.    Intelligent 

appreciation  on  the  part  of  the  public  is  the  prime 

requisite  for  superior  creation  on  the  part  of 

the  artist. 

I  wish  to  make  grateful  acknowledgment  for 

kindly  assistance  in  preparation  of  this  work  to 

J.  Ottis  Adams,  Wilham  Forsyth,  T.  C.  Steele, 

A.  N.  A.,  Mrs.  Nora  C.  Fretageot,  Mrs.  C. 

Gordon  Ball,  and  others. 

Maey  Q.  Buenet. 


IX 


CONTENTS 

CHAPTER  PAGE 

I     Pioneers  and  Itinerant  Artists       ...  3 

II     New  Harmony  Art  Interests     ....  18 

III  George  Winter  and  Contemporaries     .      .  38 

IV  Early  Artists  in  Indianapolis     ....  58 

V     Jacob  Cox  and  His  Friends 78 

VI     John    Love    and    the    First    Indiana    Art 

School 113 

VII     William  M.  Chase  and  Samuel  Richards     .  132 

VIII     The  Hoosier  Group 156 

J.  Ottis  Adams 163 

William    Forsyth 170 

Richard   B.   Gruelle 183 

Otto  Stark 197 

T.  C.  Steele 208 

IX     The  Art  Association  of  Indianapolis  and 

THE  Society  of  Western  Artists  .       .      .  218 

X     The  Art  Schools  and  Former  Students    .  230 

XI     Wilhelmina  Seegmiller          257 

XII     The  Richmond  Movement 268 

XIII     Artists  Throughout  Indiana      ....  289 

XIV     Sculpture;  Rudolph  Schwarz     ....  319 

Addenda 349 

Index 439 


LIST  OF  ILLUSTRATIONS 

Still-Life-Heirlooms Winifred  B.  Adams 

Frontispiece 

FACING    PAGE 

Portrait  Samuel  Judah.  .  .W.  R.  Freeman 16 

Portrait  of  Charles  A. 

Lesueur Himself    24 

Col.  Francis  Vigo Charles  A.   Lesueur.  ...  33 

Portrait  of  George  Winter. /fzmseZ/    36 

Burial  of  Indian  Squaw.  .  .George    Winter 45 

The  Beacon  Light George    Winter 48 

Girl  in  Orchard De  Scott  Evans 56 

Temperance    John  Gibson  Dunn 65 

Fruit  Still-Life  (Pastel)  .  .Thomas  B.  Glessing.  ...  68 

Portrait  of  Mrs.  Hays.  . .  .Barton  S.  Hays 77 

Portrait  of  Dr.  C.  G.  Mc- 
Lean   Jacob    Cox 80 

Landscape   Jacob   Cox 84 

The    Goose    Girl — Picardy 

France     Margaret  Rudisill 93 

Landscape   Petter  Fishe  Reed 97 

An  Interior John  Love 112 

Head  of  a  Boy John  Love 116 

Village    of    South    Tyrol, 

Switzerland   James  F.  Gookins 120 

Girl  at  Spinning  Wheel.  .Frank  Edwin  Scott 125 

Rue  Saint  Honore Frank  Edwin  Scott 129 

Self   Portrait                            William  M.  Chase  N.A..  132 

Still-Life — Fish William  I\f.  Chase  N.A..  141 

xiii 


LIST  OF  ILLUSTRATIONS 

FACING   PAGE 

Evangeline  Discovering 
Her  Affianced  at  the 
Hospital    Samuel  Richards 144 

John  Addington  Symonds.  .Samuel  Richards 148 

Courtship,  Bavaria J.  Ottis  Adams 157 

Winter    Morning J.  Ottis  Adams 161 

The  Old  Mill /.  Ottis  Adams 164 

Still-Life   Winifred  B.  Adams.  .  .  .  168 

The  Old  Market  Woman.  .William  Forsyth 173 

Land     of    Autumn     After- 
noon   William  Forsyth 176 

A   Sunny   Corner William  Forsyth 180 

The    Inlet Richard  B.   Gruelle .  ...    184 

The  Distant  River Richard  B.  Gruelle 189 

The  Committee Otto  Stark 193 

Lake  Michigan Otto  Stark 196 

Early  Morning Otto  Stark 200 

The    Boatman T.  C.  Steele 205 

New  Fallen  Snow T.  C.  Steele 208 

A  Spring  Morning T.   C.  Steele,  A.N.  A..  .   212 

HuNNicuTT  Valley T.  C.  Steele,  A.  N.A...   216 

The  John  Herron  Art  In- 
stitute    Photograph     221 

Memorial   Tablet  to   John 

Herron    Photograph     225 

The     John      Herron     Art 

School Photograph     228 

An  Outdoor  Class Photograph    237 

Seal  of   Daughters  of   In- 
diana in  New  York Susan  M.  Ketcham 240 

A  Marine  Ogunquit  Maine. Susan  M.  Ketcham 244 

The  Quiet  Hour Emma  B.  King. 253 

Afterglow    ''\ Sadie   Weisenburger, ...   257 

xiv 


LIST  OF  ILLUSTRATIONS 


FACING   PAGE 


Meditation    Lucy  M.  Taggart.  .....  260 

The  Gold  Couch Ruth  Pratt  Bohhs 269 

Southern    Indiana Dorothy  Morlan 272 

The  Lone  Survivor Clifton  A.  Wheeler 276 

The  Coming  Storm Clifton  A.  Wheeler 285 

Booth  Tarkington Wayman   Adams 289 

Portrait  Alexander  Eren- 

STiNOFF Wayman   Adams 292 

Riverview    Row Randolph  L.  Coats 301 

Portrait     Miss      Elizabeth 

Greer S.   P.   Baus 804 

On  the  Balcony Olive    Rush 808 

Summer    Morning Daniel  Garher,  N.  A.. .  .  317 

Wane  of  Winter J.  E.  Bundy 821 

In  the  Edge  of  the  Woods 

at  Twilight J.  E.  Bundy 824 

In  the  Meadow Charles  Conner 333 

Old  Houses  AT  CENTERViLLE.MflM^e  Kaufman  Egger- 

meyer    336 

Spring's    Threshold George  H.  Baker 840 

Close  of  Day .  .L.  Clarence  Ball 849 

Felling  the  Bee  Tree.  . .  .L.  Clarence  Ball 353 

L.  Clarence  Ball Leon  A.  MakielsJci 856 

George    Ade Robert   W.   Grafton.  . .  .  865 

The   Visitor Katherine  H.  Wagenhals  868 

Overbeck   Pottery Misses  Overbeck 372 

Afternoon  in  October.  ..  .Adolph   R.   Shulz 381 

A  Brown  County  Mother.  .Ada  Walter  Shulz 385 

Under   the   Willows H.  G.  Davisson 388 

The   Knitter Louise  A.  Zaring 397 

Stormy  Spring  Weather.  .  .Will  Henry  Stevens.  .  .  .  400 

The    Scout Rudolph  Schwarz 404 

Gen.  George  Rogers  Clark.  Jo/in  H,  Mahoney 413 

XV 


LIST  OF  ILLUSTRATIONS 

FACING    PAGE 

Vice  -  President     Schuyler 

Colfax Frances  M.  Goodwin. .  .    417 

The  Tortoise  Fountain  .  . .  .Janet    Scudder 420 

James  Whitcomb  Riley.  .  .  .Myra  R.  Richardb 429 

Bas-relief  of  James  Whit- 
comb Riley Helene   Hihben 432 


XVI 


ART  IS  CONSTRUCTIVE 
CIVILIZATION 


ART  AND  ARTISTS 
OF  INDIANA 


I.    PIONEERS  AND  ITINERANT 
ARTISTS 

THE  history  of  art  in  Indiana  is  but  the 
history  of  art  in  every  other  State  in  the 
Union:  that  of  slow  development,  small  encour- 
agement, and  slight  appreciation  on  the  part 
of  a  preoccupied  public. 

The  pioneer  first  meets  the  needs  of  stern 
reality  and  rigorous  necessity  as  he  shoulders 
his  exacting  burdens  and  creates  for  his  family  a 
meager  home  in  a  new  country.  It  is  only  after 
years  of  persevering  and  unremitting  toil,  and 
the  oncoming  of  a  new  generation  or  two,  with 
the  growth  to  scanty  comfort,  a  few  satisfied 
desires,  and  a  handful  of  luxuries,  that  there 
finally  comes  a  longing  for  and  an  apprecia- 
tion of  beauty.  This  mental  and  moral  rigor 
was  so  paramount  in  the  lives  of  our  early  settlers 
that  it  almost  entirely  prohibited  an  expres- 
sion of  and  love  for  the  finer  things — an  interest 

3 


ART  AND  ARTISTS  OF  INDIANA 

in  painting,  music,  literature,  or  the  drama;  and 
yet,  our  sturdy  forefathers  furnish  much  local 
coloring  for  the  original  work  of  to-day,  which 
is  better  known  in  the  writing  of  books  than  in 
the  painting  of  pictures;  for  the  multiplicity  of 
books  reach  the  homes  and  their  authors  become 
household  names,  while  pictures  of  equal  local 
interest  remain  of  rarer  value  and  the  painter 
unknown  because  they  are  not  reproduced  in 
editions  of  one  thousand  to  become  the  property 
of  whosoever  will.  The  artist  is  and  always  will 
be  one  apart  and  his  name  is  almost  strange  on 
the  lips  of  the  general  public  even  to-day;  yet 
Indiana  artists  in  their  varied  capacities  have 
won  unique  and  distinct  positions  in  the  art 
world. 

The  idea  still  persists  to  a  certain  degree 
that  art  as  well  as  music  must  have  European 
sanction  to  be  of  the  highest  value  and  find 
ready  patrons;  this  is  purely  a  provincial  spirit 
on  the  part  of  the  purchaser.  Let  European 
art  play  its  part  on  the  continent.  This  is  es- 
sential. Let  Americans  realize  what  is  accom- 
plished on  native  soil.  It  is  only  when  an  awak- 
ened public  commends  that  the  influence  stimu- 
lates the  creative  artist  and  his  ideals  are  accom- 
plished. The  creator  of  poetry,  music,  the  drama, 
painting,  or  sculpture  needs  the  stimulus  of  a 
sympathetic  and  appreciative  audience,  and  the 

4* 


ITINERANT  ARTISTS 

artist  who  thus  gains  public  recognition  finds 
his  ability  increased  with  his  reputation.  As 
long  as  the  people  are  not  ready  to  appreciate, 
there  is  little  production.  When  conditions  be- 
came more  settled  and  men  could  turn  their 
attention  for  a  little  space  of  time  to  the  better 
things  of  life,  there  came  into  the  early  settle- 
ments men  who  enjoyed  the  reputation  of  being 
artists. 

The  circuit  rider  was  of  paramount  necessity 
and  came  first  into  the  lives  of  the  people  to  di- 
rect their  moral  codes.  He  was  quickly  followed 
by  the  travehng  doctor,  who,  with  his  saddle- 
bag of  medicines,  knew  how  to  minister  to  all 
the  ills  of  life;  the  itinerant  judge  of  the  district, 
who  often  held  court  in  the  country  homes, 
settling  all  kinds  of  neighborhood  disputes.  Later 
came  the  wandering  portrait-painter,  who  found 
a  few  patrons  among  the  widely  scattered  settlers. 
It  is  natural  that  there  should  be  a  desire  to 
preserve  the  likeness  of  the  sturdy  ancestor,  and 
painting  was  the  only  method  until  the  intro- 
duction of  the  daguerreotype  in  1832.  When 
these  early  artists  did  not  find  sufficient  patrons 
among  the  clergy,  the  gentry,  and  the  states- 
men of  the  period  to  make  the  field  lucrative, 
they  were  not  averse  to  employing  their  brushes 
in  another  direction  and  painted  signs  and 
coaches  as  well  as  portraits. 

5 


ART  AND  ARTISTS  OF  INDIANA 

Our  earliest  settlers  came  from  the  South  and 
the  East.  The  same  puritanical  influence  that 
pervaded  the  New  England  States  was  found 
here;  yet  almost  without  exception  the  artist,  if 
he  did  not  come  direct  from  Europe,  came  from 
that  older  puritanical  stock  of  the  East  and  not 
the  South. 

That  the  earliest  art  of  Indiana  should  be 
ushered  in  by  a  romance  that  ended  with  a  touch 
of  international  fame  is  not  to  be  accredited  to 
any  native  element  of  the  soil  other  than  the 
solitude  of  the  primeval  forest.  The  romance  of 
our  later  artists  may  not  yet  be  related ;  but  what 
could  serve  our  immediate  purpose  better  than 
a  love  story? 

On  one  of  the  highest  and  most  picturesque 
promontories  of  the  Ohio,  commanding  a  mar- 
velous view  of  the  river,  is  a  point  that  for  more 
than  a  century  has  been  known  as  "Fair  Pros- 
pect." Here,  until  recently,  stood  a  sturdy 
beech-tree  on  the  smooth  gray  bark  of  which 
was  carved:  "Christopher  Harrison,  July  8th, 
1808."  This  was  in  Jefferson  County,  Indiana, 
near  the  present  site  of  Hanover  College. 

Christopher  Harrison  was  born  in  1775  at 
Cambridge,  Dorchester  County,  Maryland,  of 
English  parents,  who  were  of  good  social  stand- 
ing in  England.  He  was  graduated  at  St.  John's 
College,  Annapolis,  and  later  entered  the  count- 

6 


ITINERANT  ARTISTS 

ing-room,  as  confidential  clerk,  of  William  Pat- 
terson, merchant  prince  of  Baltimore.  He  was 
received  in  the  family  of  Mr.  Patterson  as  an 
equal,  a  privilege  to  which  he  was  entitled  by 
birth  and  education.  Here  he  met  the  accom- 
plished and  beautiful  daughter,  Elizabeth  Pat- 
terson, one  of  the  most  brilliant  women  America 
has  ever  produced.  The  young  clerk  became  her 
tutor  and  friend.  Tradition  says  that  an  at- 
tachment grew  between  them  that  resulted  in 
a  betrothal.  Her  father  uttered  bitter  protest. 
As  it  was  a  point  of  honor  with  Harrison  not 
to  marry  where  there  was  opposition,  the  en- 
gagement was  broken. 

He  left  his  native  State  and  made  his  way 
into  the  wilderness  of  Indiana,  where  solitude 
and  time  helped  to  assuage  his  grief.  News 
traveled  slowly  at  that  early  day,  and  it  is  prob- 
able the  knowledge  of  the  subsequent  marriage 
of  Elizabeth  Patterson  to  Prince  Jerome  Bona- 
parte did  not  reach  him  for  some  time.  How- 
ever that  may  be,  Christopher  Harrison  never 
married.  He  lived  at  Fair  Prospect,  the  beauti- 
ful site  that  commanded  a  view  of  the  Ohio  River 
for  many  miles.  His  cabin  was  a  single  room, 
but  it  contained  many  things  that  seemed  incon- 
gruous in  the  wilderness.  Classical  books  were 
upon  the  crude  shelves  he  had  constructed.  Pic- 
tures he  loved  were  hanging  on  the  walls.    Paint- 

7 


ART  AND  ARTISTS  OF  INDIANA 

brushes  and  easel  were  at  hand  and  ready  for 
use.  His  sole  companion  was  his  dog.  With  gun 
and  dog  he  obtained  a  living.  His  solitude  was 
enlivened  by  his  studies  and  with  paint  and 
brushes. 

Without  doubt  Christopher  Harrison  was  the 
first  artist  in  Indiana.  Several  of  his  sketches 
in  water-color  are  preserved  in  some  old  books 
that  were  formerly  his,  which  were  afterward 
owned  by  the  late  Judge  David  D.  Banta,  re- 
cently of  Franklin,  Indiana. 

In  1815  Harrison  and  Jonathan  Lyons  re- 
moved to  Salem,  Indiana,  and  opened  a  general 
store  for  merchandise.  Here  Harrison  lived  alone 
in  a  small  brick  house  of  two  rooms,  one  room 
only  large  enough  to  contain  a  bed.  His  house 
was  eared  for  by  an  old  colored  woman.  His 
only  visitors  were  the  children  of  the  village, 
who  were  very  fond  of  him.  His  small  yard, 
which  was  not  more  than  fifty  by  one  hundred 
feet,  was  entirely  planted  in  fiowers.  It  was  his 
greatest  pleasure  to  cut  the  blooming  plants  and 
give  the  blossoms  to  the  boys  and  girls  who 
came  to  see  him,  whom  he  entertained  and  made 
happy  many  hours  with  his  stories  and  sketches. 
Miss  Lera  Berkey,  of  Salem,  owns  a  small  box 
that  he  painted  and  gave  to  Anna  Curry  when 
she  was  a  child.  One  who  remembers  his  Salem 
home  says:  "He  painted  a  picture  of  a  grape-vine 

8 


ITINERANT  ARTISTS 

clinging  to  his  porch  so  perfectly  that  she,  on 
seeing  it,  at  once  put  out  her  hand,  thinking  to 
pluck  a  bunch  of  grapes."  ^ 

Later  he  moved  to  a  farm  a  few  miles  from 
Salem.  It  was  his  custom,  when  coming  into 
town,  to  fill  his  wagon  with  watermelons  for  the 
children.  On  these  he  had  cut  the  names  of  his 
young  friends,  and  he  distributed  them  as  he 
passed  through  the  streets. 

In  1816  Jonathan  Jennings  was  elected  the 
first  Governor  of  the  new  State  of  Indiana,  and 
Christopher  Harrison  the  Lieutenant-Governor. 
The  first  mention  of  the  State  seal,^  which  no 
doubt  was  of  Eastern  production,  was  during  the 
controversy  between  Governor  Jennings  and 
Lieutenant-Governor  Harrison  as  to  who  was 
Governor — Harrison  maintaining  that  Jennings 
had  forfeited  his  right  to  the  executive  office  by 
accepting  a  commission  from  the  United  States 
while  Governor,  which  was  contrary  to  the  State 
law  of  Indiana.     The  Lieutenant-Governor  be- 

*  William  Wesley  Woollen,  "Biographical  and  Historical 
Sketches  of  Early  Indiana,"  p.  160. 

'First  mention  of  the  seal  of  Indiana:  (Seal)  "Act  of  Con- 
gress, representing  the  government  of  the  territories  of  the 
United  States  north,  west,  and  south  of  the  river  Ohio:  approved 
May  8th,  1792.  Sec.  V.  'That  the  Secretary  of  State  provide 
proper  seals  for  the  several  and  respective  public  oflBces  in  said 
territories.'  The  seal  was  perhaps  brought  to  Indiana  by  Jonathan 
Jennings,  who  served  as  a  delegate  in  Congress  from  1809  to 
1816." — William  Wesley  Woollen,  "Biographical  and  Historical 
Sketches  of  Early  Indiana,"  p.  36. 

Early  in  1816  Mr.  Jennings  reported  to  Congress  a  bill  enabling 
the  people  of  the  territory  of  Indiana  to  take  the  necessary  steps 
to  convert  it  into  a  state.     (Ibid.,  p.  32.) 

9 


ART  AND  ARTISTS  OF  INDIANA 

came  the  acting  Governor  of  the  state.  Gov- 
ernor Jennings  refused  to  accept  this  interpreta- 
tion of  the  law,  and  demanded  possession  of  the 
executive  office.  The  Lieutenant-Governor  left 
the  room  he  had  been  occupying,  taking  the  state 
seal  with  him,  in  1818. 

Christopher  Harrison  was  not  satisfied  with  a 
superficial  knowledge  of  anything;  he  went  at 
matters  thoroughly,  as  will  be  shown  by  a  service 
he  rendered  Indiana  before  he  returned  to  his 
native  Maryland.  In  1820  the  Legislature  elected 
him,  James  W.  Jones  of  Gibson  County,  and 
Samuel  P.  Booker  of  Wayne  County  commis- 
sioners to  survey  and  lay  out  Indianapolis,  the 
new  capitol  of  the  state. 

The  information  to  be  gained  concerning  the 
artists  who  sojourned  within  the  boundaries  of 
the  State  for  short  periods  in  the  pioneer  days  is 
meager  and  of  uncertain  nature.  Most  of  them 
were  untrained  and  remained  only  long  enough 
to  obtain  sufficient  orders  to  go  elsewhere. 
The  earliest  portrait  in  the  State,  as  far  as 
known,  is  that  of  General  Hyacinth  Lasselle, 
now  in  the  State  Library.  It  is  claimed  that  it 
was  painted  at  Vincennes,  where  he  lived  from 
1811  to  1820.  It  is  the  work  of  Louis  Peck- 
ham  ;  but  unsigned.  Among  the  first  was  Chester 
Harding,  who  was  in  Vincennes,  Indiana,  about 
1820  as  a  painter  of  portraits  and  teacher  of  art. 

10 


ITINERANT  ARTISTS 

Harding  was  an  ambitious  man  eager  to  rank 
among  the  best.  He  went  into  Kentucky  from 
Indiana  and  painted  a  portrait  of  Daniel  Boone, 
then  a  man  of  ninety.  He  boldly  announced  him- 
self a  portrait-painter  throughout  Kentucky, 
and  in  six  months  painted  nearly  one  hundred 
portraits  at  twenty-five  dollars  each,  after  which 
he  went  East  to  study  in  the  Philadelphia  Art 
Academy,  then  to  Boston,  where  he  was  exceed- 
ingly popular.  Later  he  studied  in  England, 
after  which  he  returned  to  this  country  and 
painted  many  of  the  political  leaders  of  the  day 
— Webster,  Clay,  Calhoun,  Marshall,  and  others. 
The  portrait  of  General  George  Rogers  Clark, 
hanging  in  the  Vincennes  University,  is  but  a 
miserable  copy  of  a  mediocre  portrait  and  is 
entirely  without  any  distinguishing  mark. 

Two  artists  named  von  Smith,  father  and  son, 
were  in  Vincennes  as  early  as  1836.  They  were 
foreign  born,  with  but  little  training.  Some  of 
the  portraits  painted  by  them  are  still  in  the  home 
of  Henry  Somes.  They  exhibited  their  work  at 
an  early  date  at  Louisville,  Kentucky.  An  East- 
ern artist,  of  the  name  of  Linnen,  spent  several 
winters  in  Terre  Haute  in  the  forties,  painted 
inferior  portraits,  and  then  returned  to  New 
York  State,  which  was  probably  his  home. 

An  artist  should  be  apprehended  by  his  love 
of  the  beautiful,  but  that  the  raison  d'etre  for 

11 


ART  AND  ARTISTS  OF  INDIANA 

tracing  him  about  the  country  should  be  feminine 
beauty  is  toute  une  autre  chose.  In  the  early 
forties  there  was  a  portrait -painter  in  southern 
Indiana  known  and  to  this  day  recalled  by  cer- 
tain of  the  older  residents  as  "artist  Freeman." 
He  visited  many  of  the  pioneer  towns,  and 
graphic  stories  are  still  extant  of  his  courting 
the  village  belles,  at  times  two  in  the  same  settle- 
ment. Later  W.  R.  Freeman  was  definitely 
known  as  a  portrait-painter,  bearing  all  the  es- 
sential characteristics,  and  was  in  all  probability 
the  identical  man.  A  descendant  says :  "He  mar- 
ried my  grandmother's  sister,  Jane  Douglas,  a 
beautiful  and  charming  woman." 

In  the  year  1849  W.  R.  Freeman  arrived  in 
Vincennes,  rented  a  studio  of  Samuel  P.  Judah, 
and  painted  his  landlord's  portrait  for  the  first 
instalment  of  rent.  He  paid  court  to  the  beauti- 
ful young  daughter  while  he  painted  portraits 
of  other  members  of  the  family.  Much  of  his 
work  is  to  be  found  among  the  older  citizens  in 
the  Allen,  Vanderburg,  Ellis,  Moore,  and  Somes 
families.  He  also  painted  portraits  of  members 
of  nearly  all  the  old  families  in  Terre  Haute.  He 
visited  Louisville  and  St.  Louis,  and  went  South 
before  the  war.  In  the  years  1872  to  1874  he 
was  in  Indianapolis,  where  he  painted  the  por- 
trait of  Governor  Thomas  A.  Hendricks. 

An  art  critic  of  the  Herald  in  1875  severely 

12 


ITINERANT  ARTISTS 

criticized  a  number  of  local  artists — Freeman, 
Dennis,  Cox,  Hays,  and  Steele.  W.  R.  Free- 
man, who  had  sold  a  picture  called  "Rainy  Day" 
to  a  local  customer,  replied  to  this  article  as 
follows : 

In  August,  1872,  I  took  the  picture  called  "Rainy  Day" 
to  Armstrong  &  Co.,  chromo  artists  and  publishers  of  57 
Milk  Street,  Boston,  to  make  arrangements  to  have  it 
chroraoed  if  it  was  thought  sufficiently  meritorious.  Several 
critics  and  dealers  were  sent  for  to  examine  the  picture,  and 
it  received  their  emphatic  approval.  Subsequently  upon 
their  valuation  it  was  insured  in  a  Boston  company  for 
twenty-four  hundred  dollars.  .  .  .  The  picture  was  well 
toward  completion  when  the  great  fire  ruined  the  company. 
The  picture  was  saved  and  sent  to  me  in  Terre  Haute.^ 

Freeman  left  Indianapolis  in  the  summer  of 
1875  for  San  Francisco.  He  confined  himself  to 
portrait-painting,  and  in  later  years  broadened  in 
his  conception  and  manner  of  expression. 

"Mr.  Lambdin,  a  distinguished  artist,  has 
drawn  a  portrait  of  General  Harrison  and  placed 
it  in  the  museum  at  Louisville,  Kentucky.  The 
editor  of  the  Journal  says  that  it  is  a  most  strik- 
ing likeness  of  the  illustrious  original,  so  much 
so  that  Tories  are  said  to  turn  pale  at  the  sight 
of  it."  2 

Another  artist  who  painted  many  portraits 
in  southern  Indiana  was  J.  T.  Poindexter,  who 
lived  for  some  years  at  Evansville.     One  au- 

^  Indianapolis  Saturday  Herald,  February  27,  1875. 
*  The  Investigator,  Corydon,  Indiana,  November  19,  1835,     This 
was  probably  James  R.  Lambdin. 

13 


ART  AND  ARTISTS  OF  INDIANA 

thentic  portrait  is  that  of  Charles  A.  White 
hanging  in  the  library  at  New  Harmony.  The 
portrait  of  Judge  Isaac  Blackford,  Indiana's 
famous  jurist,  now  in  the  Supreme  Court  room, 
is  probably  his  work. 

Peter  Tester,  a  painter  of  portraits,  was  born 
in  Germany,  where  he  received  his  art  training. 
In  early  manhood  he  came  to  America  and  made 
his  home  in  the  German  settlement  at  Free- 
landsville,  Indiana.  One  group  of  portraits 
painted  by  him  was  that  of  the  family  of 
Stephen  Burnet  at  Vincennes.  By  mutual 
agreement  he  spent  the  entire  winter  of  1869 
in  this  household,  painting  one  portrait  after 
another,  until  there  were  eight  hanging  high 
up  on  the  parlor  wall,  all  framed  exactly  alike. 
There  was  not  much  originality  displayed,  as 
the  four  women  in  the  family  all  wore  the  same 
collar  and  brooch.  But  why  not?  They  posed 
at  different  times,  and  the  collar  was  in  vogue, 
and  was  a  very  beautiful  one.  Recently  an  old 
German  neighbor  was  asked  whether  Peter 
Tester  had  devoted  his  life  to  his  art.  He  re- 
phed,  "Yes,"  and  then  added,  "and  was  good 
for  nothing  else." 

Indiana  had  at  least  one  early  collector  of 
art  in  the  Rev.  A.  W.  Freeman,  a  Presbyterian 
minister  who  lived  in  both  Aurora  and  Peters- 
burg.   He  went  to  Europe  in  1861,  and  returned 

14 


ITINERANT  ARTISTS 

with  a  number  of  paintings.  In  the  year  1868 
he  presented  two  paintings  to  the  hterary  so- 
cieties of  Wabash  College.  They  are  copies 
from  frescoes  executed  by  Vernet ;  one  represents 
Jupiter  on  his  throne,  Juno  beside  him,  and 
Mercury  before  him  delivering  a  message;  the 
other  represents  Pluto  and  the  infernal  deities. 
They  were  purchased  by  the  Rev.  Mr.  Freeman 
from  the  Pitti  Gallery  in  Florence,  Italy.  In 
1875  he  presented  four  pictures  to  Hanover  Col- 
lege. Two  are  said  to  be  copies  from  French 
masters;  another  a  copy  of  Carlo  Dolci's  "St. 
John  the  Baptist"  in  the  Pitti  Gallery;  the 
fourth  is  marked,  "Originale  Galleria  Pitti 
Firenze.     Ferri  1858." 

Other  artists  appearing  in  Indianapolis  for  a 
short  period  of  time  during  the  seventies  were 
Theodore  Lietz,  a  photographer  and  portrait- 
painter;  Harry  Hilliard,  a  portrait-painter,  who 
was  spoken  of  as  an  artist  possessing  the  quality 
of  "dreamy  elegance";  Henry  C.  Spread,  who 
went  from  Indianapolis  to  Terre  Haute  in  June 
of  1875. 

Samuel  Morrison,  who  was  for  many  years 
connected  with  the  Indiana  land  office,  was 
scarcely  an  artist,  and  were  it  not  for  another 
historic  fact  would  not  be  considered  at  this 
time.  The  artist  James  McNeil  Whistler  spent 
his  early  life  as  a  map-maker.    It  may  have  been 

15 


ART  AND  ARTISTS  OF  INDIANA 

the  diiFerence  in  environment  that  caused  him  to 
continue  his  study  and  become  an  artist,  while 
our  Indiana  friend  apprehended  the  greater  need 
of  map-making  in  his  pioneer  surroundings. 

Samuel  Morrison  (of  Lawrenceburg  in  1871) 
made  the  first  map  of  Indiana.  It  was  published 
in  1816,  when  there  were  only  thirteen  counties 
in  the  new  state.  It  was  engraved  on  copper- 
plate, and  was  printed  in  Cincinnati.  In  1835 
he  published  the  first  map  of  Wisconsin;  in  1836 
the  first  map  of  Iowa;  in  1845  he  made  another 
map  of  Indiana. 

Morrison  also  made  military  maps  that  were 
used  during  the  rebellion.  It  was  his  belief  that 
he  originated  the  plan  for  the  capture  of  Vicks- 
burg.  He  had  been  over  the  Southern  terri- 
tory when  a  young  man.  His  strong  and  natural 
instinct  for  the  topography  of  the  country  re- 
mained with  him.  At  the  outbreak  of  the  re- 
bellion he  made  a  map  showing  fifty  miles  square ; 
including  Port  Gibson,  Grand  Gulf,  and  Jack- 
son. Some  friends  advised  him  to  send  it  to 
General  Grant,  who  after  deliberate  study  aban- 
doned the  plan  on  which  he  had  been  working, 
and  accepted  the  plan  and  map  of  Morrison, 
and  the  siege  proved  successful.  Morrison  after- 
ward made  a  map  of  eastern  Virginia  for  secret 
war  movements. 

While  in  the  land  office,  Morrison  made  sev- 

16 


SAMUEL  JUDAH  (PORTRAIT  PAINTED  IN  1849) 

W.  R.  FREUMAN 


OWNED  BY  S.   B,   JUDAH,  VINCENNES,  INDIANA 


ITINERANT  ARTISTS 

eral  improvements  in  the  plan  of  work.  He 
originated  the  system  of  printing  sheets  in  sec- 
tions of  squares  for  the  drawing  of  county  and 
township  maps.  He  had  the  first  plate  engraved 
from  which  these  were  made/ 

*  From  Judge  C.  P.  Ferguson's  "Reminiscences  of  a  Journey  to 
Indianapolis  in  the  Year  1836,"  in  Indiana  Historical  Society 
(Publications,  Vol.  II,  No.  9). 


17 


II.     NEW  HARMONY  ART 
INTERESTS 

IT  matters  not  in  what  phase  of  early  Indiana 
history  one  may  be  interested,  it  is  but  nat- 
ural to  turn  to  New  Harmony  as  a  likely  himt- 
ing-ground,  always  with  a  large  chance  of  re- 
ward. One  hundred  years  have  come  and  gone. 
The  venture,  leaving  its  stamp  in  many  scientific 
fields,  has  become  a  part  of  our  best  past.  The 
historic  boat-load  of  antediluvian  date  carried 
every  variety  of  animal  form.  Many  centuries 
later  another  historic  boat-load  carried  every 
variety  of  mind  and  knowledge,  with  New  Har- 
mony as  its  destination,  arriving  January,  1826. 
Among  the  savants  brought  to  Indiana  at  this 
time  were  persons  of  varied  master  minds,  the 
educator,  the  scientist,  the  surveyor,  the  meteor- 
ologist, the  geologist,  the  physician,  the  linguist, 
the  dramatist,  the  musician,  the  artist,  and  the 
art  lover,  who  came  to  New  Harmony  and  were 
part  of  the  greatest  social  experiment  ever  un- 
dertaken in  America. 

One  of  the  choicest  spirits  of  the  new  com- 
munity, the  one  whose  influence  was  destined 
to  continue  longest,  was  William  Maclure,  the 

18 


ART  INTERESTS 

educator  and  art  lover;  an  Ayr  Scotchman  by 
birth,  associated  with  Robert  Owen  in  the  pur- 
chase of  New  Harmony  and  its  educational  in- 
terest. As  a  merchant  in  London  he  accumu- 
lated a  large  fortune.  He  traveled  in  European 
countries,  and  in  1819  established  an  agricultural 
school  in  Spain.  This  school  proved  a  failure 
and  he  came  to  America,  distinguishing  himself 
first  by  making  a  geological  map  of  the  country 
east  of  the  Mississippi  River,  having  crossed  the 
AUeghanies  more  than  fifty  times  in  accom- 
plishing his  task. 

William  Maclure  opened  the  School  of  In- 
dustry at  New  Harmony,  which  was  the  first 
vocational  school  in  Indiana  and  the  second  of  its 
kind  in  the  world,  teaching  cabinet-making, 
printing,  lithography,  engraving,  book-binding, 
drawing,  painting,  and  music.  Through  his  pop- 
ular publications  the  idea  of  technical  training 
was  first  widely  disseminated  in  the  United 
States.  The  institution  and  its  most  distin- 
guished coterie  of  scientists  and  educators  were 
also  brought  before  the  public  through  the  many 
publications  printed  by  the  school,  Maclure's 
avowed  intention  being  to  make  New  Harmony 
the  center  of  American  education.  As  a  philan- 
thropist his  object  was  always  to  "diffuse  knowl- 
edge among  the  industrious  producers."  The 
New  Harmony  Disseminator  was   established 

19 


ART  AND  ARTISTS  OF  INDIANA 

January  16,  1828,  and  contained  "hints"  to  the 
youth  of  the  United  States.  It  was  edited, 
printed,  and  published  by  the  pupils  of  the  School 
of  Industry,  and  was  the  means  of  exploiting 
the  knowledge  in  printing  and  illustrating  taught 
in  the  schools. 

The  most  prized  possession  of  New  Harmony 
to-day  is  the  portrait  of  William  Maclure  by  the 
English  historic  painter  and  author  James 
Northcote,  who  was  the  pupil,  biographer,  and 
friend  of  Sir  Joshua  Reynolds.  As  an  art  lover 
he  brought  to  New  Harmony  many  art  treasures 
of  rare  and  beautiful  workmanship.  There  is 
to  be  found  to-day  in  the  Owens'  homes  "Quash 
paintings"  of  the  fifteenth  century,  many  of 
them  bearing  the  inscription,  "Michaelangelo 
Mastero  face  in  Roma,"  by  such  artists  as  Pier- 
ino  del  Vaga,  Giulio  Romano,  Polidoro  da  Cara- 
vaggio,  Carlo  Dolci,  and  Raphael  Sanzio.  Ma- 
clure brought  many  engravings  of  English  and 
French  origin.  The  present  librarian,  a  modern 
Mme.  Frategeot,  remarked  as  she  brought  out 
a  small  but  precious  portfolio:  "I  have  never 
shown  these  engravings  to  but  one  other  person" ; 
and  she  carefully  unwrapped  the  most  exquisite 
little  French  engravings  I  have  ever  seen.  They 
were  portraits  about  the  size  of  a  pendant,  and 
as  beautiful  as  miniatures.  I  exclaimed,  "How 
like  miniatures!"     "Yes,"  she  replied;  "I  have 

20 


ART  INTERESTS 

long  since  worn  this  one  of  William  Maclure 
as  a  miniature";  and  she  brought  to  notice  the 
choicest  of  all,  in  an  oval  frame  of  rare  work- 
manship suspended  from  a  slender  chain  she  was 
wearing. 

Maclure  also  brought  with  him  many  copper- 
plates of  fine  engravings,  from  which  were  print- 
ed engravings  for  general  distribution  in  the 
pioneer  homes  and  schools  of  Indiana,  Ken- 
tucky, and  Illinois.  He  often  sent  two  of  the 
older  school-boys  with  horses  and  wagon  on  this 
mission.  All  the  paper  used  in  New  Harmony 
was  brought  from  Cincinnati  by  boat  or  wagcm, 
and  whoever  was  commissioned  to  make  the 
journey  for  the  supply  carried  a  large  quantity 
of  these  engravings  to  sell  and  barter  for  lodg- 
ings for  themselves  and  horses  on  the  trip  each 
way. 

The  old  Butler  Mill,  on  the  East  Fork  of 
the  White  Water,  was  built  in  1804.  The  first 
building  was  of  logs,  and  contained  rude  ma- 
chinery for  grinding  grain.  A  sawmill  was  soon 
added;  a  frame  building  replaced  the  log  build- 
ing. Backhouse  &  Breckenridge  purchased  the 
Butler  Mill  property  in  1818,  and  operated  it 
until  the  fall  of  1822,  when  it  was  destroyed  by 
fire.  It  was  rebuilt  at  once  with  money  borrowed 
from  the  United  States  Bank  at  Cincinnati.  On 
account  of  various  drawbacks  the  firm  was  un- 

21 


ART  AND  ARTISTS  OF  INDIANA 

able  to  meet  its  obligations,  and  the  bank  fore- 
closed and  sold  the  mill  to  James  Speer,  who  tore 
down  the  sawmill  and  built  a  frame  paper-mill  in 
its  place.  The  paper-mill  was  put  into  operation 
about  July  1,  1835.  Some  years  later  Speer 
introduced  the  "Fourdrinier"  system  of  machin- 
ery; this  required  more  space,  and  he  removed 
the  frame  building  and  erected  the  brick  build- 
ing. 

This  mill  was  the  second  dry-roll  paper-mill 
west  of  the  Alleghany  Mountains;  it  was  the 
old  mill  that  came  into  national  prominence 
through  its  having  served  as  a  model  for  "The 
Old  Mill"  by  artists  of  no  less  renown  than 
Steele,  Forsyth,  Adams,  and  others.  Its  mossy 
roof  and  dismal  broken  windows,  its  majestic 
colonial  style  of  architecture,  its  setting  of  wood- 
ed hills  for  a  background,  caused  it  to  appeal 
strongly  to  the  love  of  the  beautiful  of  the  artists 
who  reproduced  on  canvas  scenes  of  the  White 
Water  valley.^ 

This  first  publishing  firm  in  Indiana  sent  a 
long  way  to  procure  the  necessary  supply  of 
paper.  It  is  of  interest  to  note  that,  in  turn, 
it  is  probable  that  the  Cincinnati  firm  obtained 
its  wholesale  supply  from  the  second  paper- 
mill  established  west  of  the  Alleghany  Moun- 

*  "The  Old  Mill,"  by  T.  C.  Steele,  is  in  the  private  collection  of 
Dr.  T.  Victor  Keene. 

22 


ART  INTERESTS 

tains,  at  Brookville,  Indiana.  Rags  were  carted 
from  Cincinnati  to  this  mill  and  paper  taken  back 
by  the  same  teams. 

Among  the  teachers  in  'New  Harmony  who 
were  accomplished  artists  were  Mrs.  Chase,  who 
taught  music  and  drawing,  and  Mrs.  Thomas 
Say  (Lucy  Sistaire),.  who  made  and  colored 
the  seventy- five  original  drawings  illustrating  her 
husband's  celebrated  work,  "American  Conchol- 
ogy,!'  which  was  printed  by  the  School  of  Indus- 
try. She  also  taught  drawing  and  water-color 
in  the  school.  Cornelius  Tiebout,  a  New  York 
engraver,  had  supervision  of  the  printing  and 
engraving  of  the  schools.  His  two  children, 
Henry  and  Caroline,  were  taught  by  Mrs.  Say 
to  color  the  prints  for  which  she  had  made  the 
original  drawings,  for  the  publications  for  gen- 
eral distribution.  This  was  no  small  task,  as 
there  were  hundreds  of  specimens  on  the  seventy 
color-plates  in  each  book.  It  is  not  known  how 
many  copies  were  issued. 

Among  the  engravers  were  Lyman  Lyon, 
James  Walker,  and  John  Chapplesmith — ^the 
last  a  wealthy  English  artist  and  engraver  who 
with  his  wife  came  into  the  community  with  the 
"boat-load  of  knowledge."  While  here  he  made 
the  cuts  of  many  of  the  fossils  for  the  govern- 
ment geological  reports  during  the  time  the  gov- 
ernment station  was  located  at  New  Harmony. 

23 


ART  AND  ARTISTS  OF  INDIANA 

He  also  made  meteorological  reports  regularly 
for  many  years.  On  April  30,  1852,  there  was  a 
terrific  tornado  in  the  vicinity.  Chapplesmith 
made  maps  and  graphic  drawings  (originals  of 
which  are  in  the  New  Harmony  Library),  and 
wrote  an  account  which  he  sent  to  the  Smith- 
sonian Institution,  where  it  was  published  in 
book  form  with  the  title,  "An  account  of  a  Tor- 
nado, near  New  Harmony,  Ind." 

Charles  Alexander  Lesueur  was  induced  to 
leave  Philadelphia,  where  he  was  conducting  an 
art  school,  and  arrived  in  company  with  that 
interesting  coterie  of  scientists  and  educators  to 
take  up  the  work  as  artist  and  naturalist  in  the 
school  Maclure  was  establishing.  Along  the 
line  of  Maclure's  philanthropic  ideas  of  build- 
ing for  the  future,  this  school  was  intended  to 
have  the  best  educational  talent  available  in 
the  states,  and  several  of  these  educators  would 
have  been  widely  celebrated  to-day  but  for  their 
unassuming  modesty,  which,  as  in  the  case  of 
Lesueur,  found  such  contentment  in  art  for  art's 
sake  as  to  give  little  thought  beyond  the  day  and 
work  thereof.  Like  many  artists,  he  displayed 
little  practical  business  ability,  and  his  trustful- 
ness and  faith  in  humanity,  his  interest  and 
ready  helpfulness  for  those  who  wanted  to  learn 
were  sometimes  taken  advantage  of  to  a  degree 
of  real  imposition — his  illustrative  work  and  writ- 

24 


'^x%^ 


SELF-PORTRAIT 


CHARLES  ALEXANDER  LESUEUR 


ART  INTERESTS 

ings  being  used  with  inadequate  money  com- 
pensation, or  frequently  none  at  all. 

Lesueur  was  a  Frenchman,  and  had  been  en- 
gaged by  the  Jardin  des  Plantes  de  Paris  to 
make  a  collection  of  various  objects  of  natural 
history.  He  accompanied  La  Perouse  on  the  ill- 
fated  French  expedition  that  was  sent  out  in 
1785  to  New  South  Wales,  and  which  suffered 
shipwreck  off  the  island  of  Vanikoro  in  1788. 
Lesueur,  having  been  left  in  Australia  for  a 
period  of  investigation,  escaped  the  catastrophe, 
and  later  drifted  to  America.  In  1815  he  was 
in  Philadelphia,  devoting  himself  to  art  and  the 
sciences.  He  was  the  earliest  professional  paint- 
er in  Indiana,  aside  from  being  a  teacher  of  art 
in  the  schools.  He  found  his  first  work  in  ex- 
ploring the  Indian  mounds  in  the  vicinity  of  New 
Harmony,  furnishing  many  interesting  speci- 
mens to  the  rapidly  growing  museum,^  and  pub- 
lishing an  illustrated  account  of  his  work.  He 
also  published  an  account  of  his  scientific  re- 
search of  moUusks  and  fishes. 

Let  us  pause  for  a  moment  and  return  to  an 
earlier  history  of  New  Harmony  under  the  re- 
gime of  the  Rappites — followers  of  George 
Rapp,  of  Wiirttemberg — a  history  old  enough 

*  This  first  museum  in  Indiana  later  contributed  largely  of  its 
contents  to  the  museums  of  the  State  University,  the  Museum  of 
Natural  History  of  New  York  City,  and  the  Smithsonian  In- 
stitution. 

25 


ART  AND  ARTISTS  OF  INDIANA 

to  have  two  churches,  the  earliest  being  a  frame 
building  having  a  belfry,  with  a  clock  striking 
the  hours  and  quarters.  Later  the  Rappites 
erected  a  more  imposing  structure  of  brick,  with 
a  stone  foundation,  in  the  form  of  a  Maltese 
cross,  and  a  high  nave,  which  was  supported  by 
twenty-eight  Doric  columns,  with  an  arched  dome 
encircled  by  a  balcony,  making  a  belvedere  on 
the  top,  often  used  as  a  band-stand.  These  pil- 
lars were  of  walnut,  cherry,  and  sassafras,  six 
feet  in  circumference.  The  windows  in  the  upper 
part  were  obliquely  oval,  and  the  stone  doorway 
of  the  main  entrance  of  pure  Grecian  archi- 
tecture. Over  the  lintel  was  carved  and  gilded 
by  Frederick  Rapp,^  adopted  son  of  Father 
Rapp,  a  wreath  and  a  rose,  the  date  1822,  and 
an  inscription:  "Micah  IV,  8."  This  in  the 
Lutheran  edition  of  the  Bible  reads:  "Unto  thee 
shall  come  the  golden  rose,  the  first  dominion." 
The  Owen  community  rededicated  this  build- 
ing in  1826,  calling  it  New  Harmony  Hall,  and 
used  it  for  different  purposes — to  promote  free 
speech  and  free  thought.  The  lower  room  was 
lighted  every  evening,  and  used  for  deliberative 
assemblies,  for  balls  and  concerts.  The  south 
room  was  the  theater,  the  scenery  being  painted 
by  Lesueur,  who  occupied  one  of  the  small  upper 

*  Frederick  Rapp  went  to  Europe  and  collected  the  many  pic- 
tures of  note  owned  by  the  Rappites. 

26 


ART  INTERESTS 

rooms  as  a  studio,  where  he  did  scenic  painting 
and  scientific  drawings  for  a  number  of  years/ 
It  is  noted  in  the  Disseminator  that  he  painted 
the  scenery  for  the  play  of  "William  Tell," 
given  by  the  New  Harmony  Thespian  Society. 

There  is  an  interesting  story  of  the  staging  in 
1828  of  "The  Maid  and  the  Magpie."  Lesueur 
painted  appropriate  scenery  for  this.  There  was 
a  church  and  steeple,  and  he  constructed  a  mag- 
pie, and  operated  it  so  that  it  flew  down  while 
the  maid  was  absent  and  carried  a  spoon  from 
a  table  up  to  its  nest  in  the  belfry,  then  re- 
turning took  another.  The  maid  is  accused  of 
theft.  In  the  end  the  belfryman  goes  up  to 
toll  the  bell  for  the  execution  of  the  maid,  and 
finds  the  spoons  in  the  magpie's  nest. 

Professor  Richard  Owen  in  a  letter  to  Dr. 
David  Starr  Jordan  says:  "Lesueur  was  a  mag- 
nificent artist,  good  alike  in  drawing  and  color. 
I  have  some  of  his  sketches  yet,  in  which,  when 
I  was  taking  drawing  lessons  from  him,  he 
showed  me  how  to  outline,  for  instance,  the 
skeleton  of  the  human  figure,  and  then  add  the 

*New  Harmony  Gazette,  February  13,  1828,  p.  142;  New  Har- 
mony Gazette,  April  9,  1828,  p.  190;  Disseminator,  February  7, 
and  21,   1835. 

The  room  containing  walls  painted  by  Lesueur,  with  a  series 
of  Swiss  scenes  of  Lake  Lucerne  and  the  mountains,  was  many 
years  later  used  as  a  house  for  pork-packing,  where  thousands 
of  hogs  were  slaughtered  and  gallons  of  lard  rendered.  During 
this  especial  season  of  gruesome  activity  the  background  of 
painted  walls  presented  a  weird  scene. 

27 


ART  AND  ARTISTS  OF  INDIANA 

muscular  system,  then  the  drapery,  etc.  We 
usually  took  views  from  nature.  Although  so 
minute  in  details  of  fine  paintings,  he  was  equally 
good  in  large  scenery.  For  many  years  we  had 
here  the  scenes  he  painted  for  a  Thespian  So- 
ciety of  this  place,  where  amid  the  forest  trees 
he  had  squirrels,  birds,  etc."  ^ 

Dr.  Jordan  calls  Lesueur  the  first  of  the 
school  of  active  zoology  in  America,  and  states 
that  Agassiz,  the  renowned  ichthyologist,  consid- 
ered him  second  only  to  himself  in  that  branch 
of  science.  Lesueur  wrote  and  illustrated  vari- 
ous books  on  the  subject.  Scientists  speak  of 
his  drawings  as  works  of  art  rather  than  the  usual 
mechanical  representations. 

Lesueur  was  one  of  the  founders  of  the  Acad- 
emy of  Natural  Sciences  in  Philadelphia,  and 
throughout  his  sojourn  in  New  Harmony  he 
sent  contributions  of  drawings,  scientific  data, 
and  specimens  of  birds,  animals,  fishes,  and  rare 
shells  to  that  institution. 

He  received  a  pension  from  the  French  gov- 

^"The  pictures  to  which  Professor  Jordan  alludes  are  pro- 
nounced by  experts  to  be  of  real  value.  They  are  done  on  rice 
parchment — one  a  pair  of  black  panthers,  the  other  a  tropical 
bird,  a  sort  of  black  parrot.  Except  for  the  branch  on  which 
the  bird  rests,  or  the  bit  of  ground  for  the  animals,  there  is 
no  background,  just  the  clear-cut  figures  of  luminous  black  on 
the  dull  white,  with  scarcely  a  touch  of  color  in  relief.  Yet  the 
separate  hairs  in  the  fur,  or  the  different  feathers,  stand  out 
distinctly  under  a  magnifying  lens,  and  they  were  always  so 
shown  to  note  the  delicacy  and  detail  work.  It  was  for  these 
qualities,  together  with  absolute  accuracy,  that  his  work  was 
best  known." — From  a  letter  from  Virginia  Twigg. 

28 


ART  INTERESTS 

eminent,  and  was  considered  partially  in  its 
employ  even  when  definitely  settled  in  America, 
sending  back  scientific  contributions,  much  as  he 
did  to  the  academy  in  Philadelphia.  It  was  in 
response  to  the  official  notification  that  the 
pension  would  be  withdrawn,  unless  he  returned 
to  devote  his  art  and  scientific  efforts  to  his 
country  exclusively,  that  he  finally  departed  in 
1837.  On  his  arrival,  he  was  made  curator  of  the 
Museum  at  La  Havre,  which  position  he  re- 
tained until  his  death. 

Many  distinguished  and  eminent  scientists 
found  their  way  to  this  Mecca  of  the  frontier, 
studying  the  collections  in  the  local  museum, 
making  original  research,  illustrating  their  own 
work  of  fossil  animals  and  plants,  as  well  as  the 
fauna  and  flora  of  the  new  country.  Among 
them  were  F.  B.  Meek,  eminent  paleontologist; 
A.  H.  Worthen,  geologist;  Leo  Lesquereux,  a 
noted  fossil  botanist;  Dr.  C.  C.  Parry,  the  vet- 
eran Western  botanist;  J.  H.  Audubon,  the 
noted  ornithologist,  who  was  a  pupil  of  the 
French  painter  David.  Maurice  Thompson 
says:  "The  place  had  a  charm,  moreover,  which 
held  many  of  the  pilgrims,  so  that,  like  Tenny- 
son's Lotus-eaters,  they  would  Vander  no 
more,'  but  stayed  *until  they  died.'  " 

Alexander  Philip  Maximilian  (Prince  Maxi- 
milian von  Neuwied),  under  the  title  of  Baron 

29 


ART  AND  ARTISTS  OF  INDIANA 

Braunsburg,  visited  New  Harmony,  arriving 
October  19,  1832.  He  was  accompanied  by  his 
taxidermist,  Dreidopple,  and  his  artist,  Charles 
Bodmer  (the  devoted  friend  of  Jean  rran9ois 
Millet) .  They  remained  for  the  winter,  making 
a  careful  study  of  the  local  natural  history,  as- 
sisted by  Say  and  Lesueur.  They  made  ex- 
tensive travels  through  the  West,  and  in  1838 
and  1843  published  two  large  volumes  entitled 
"Reise  durch  Nord-Amerika"  Oblentz.  Three 
original  prints  by  Bodmer,  used  in  the  above 
volumes,  are  still  in  the  collection  of  pictures  in 
the  gallery  of  the  Workingmen's  Institute  of 
New  Harmony. 

At  the  close  of  the  second  visit  of  Prince  Maxi- 
milian, June  9,  1834,  Lesueur  left  New  Har- 
mony and  accompanied  the  party  on  their  east- 
ward journey.  They  made  their  way  through 
the  primitive  forest  by  wagon  to  the  Great  Lakes, 
where  Lesueur  classified  many  of  the  fishes  and 
made  sketches  of  them,  which  he  later  sold  to  the 
French  government,  then  on  eastward  to  Niagara 
Falls,  and  Boston,  where  they  sailed  for  Europe. 
The  time  of  Lesueur's  commission  from  the 
French  government  had  expired.  Perhaps  the 
greatest  service  he  did  for  America  was  his  classi- 
fication of  the  fishes  of  the  Great  Lakes,  and  his 
"Collection  of  Birds,"  which  is  now  in  possession 
of  the  American  Museum  of  Natural  History  in 

30 


ART  INTERESTS 

New  York,  and  highly  regarded.  To  Indiana  his 
greatest  contribution  consisted  of  drawings 
showing  the  strong  character  of  some  of  the 
early  citizens  of  the  State,  among  them  being 
Vigo,  Badollet,  and  Barabino.^ 

Lesueur  was  a  most  genial  and  attractive  char- 
acter, a  frequent  visitor  to  Vincennes,  which 
was  an  early  French  settlement.  Here  he  found 
many  congenial  friends  of  his  own  nationality — 
the  BadoUets,  Dr.  McNamee  and  family,  and 
the  Wolvertons.  Mrs.  Wolverton,  who  is  still 
living  (1914),  says:  "Charles  Alexander  Le- 
sueur, a  bachelor  and  a  general  favorite,  visited 
us  many  times  while  he  lived  in  New  Harmony." 

One  or  two  others  names  are  connected  with 
the  early  art  of  New  Harmony.  Peter  Duclos, 
a  nephew  of  Mme.  Fretageot,  came  as  a  child  in 
1826.  He  painted  scenery  for  the  local  Thespian 
Society  and  helped  decorate  the  St.  Charles 
Theater  in  New  Orleans.     He  was  assisted  by 

*  "An  orphan  niece,  Virginia  Poullard  Dupalais,  with  her  brother, 
accompanied  Lesueur  from  Philadelphia  to  New  Harmony,  and 
after  her  marriage  to  William  Albert  Twigg  he  made  his  home 
with  the  young  people.  So  far  as  known,  there  was  never  any 
catalogue  or  list  of  either  his  art  or  literary  work  in  this  country. 
The  things  we  have  were  kept  by  my  grandmother  for  the  senti- 
ment attached  more  than  anything  else.  Though  an  artist  herself, 
she  perhaps  found  valuable  aids  in  technique,  etc.,  in  the  studies 
and  sketches,  a  few  of  which  were  signed,  many  unfinished,  and 
arranged  in  no  order  at  all.  We  know  of  no  portraits  painted  of 
people  of  Indiana,  and  of  the  various  drawings,  all  were  probably 
intended  for  engraving  or  lithographing." — From  a  letter  from 
Virginia  Twigg. 

31 


ART  AND  ARTISTS  OF  INDIANA 

George  Warren,  son  of  Josiah  Warren,  an  early 
New  Harmony  enthusiast. 

In  the  list  of  people  on  board  the  Philan- 
thropist, as  the  "boat-load  of  knowledge"  was 
named,  appears  the  name  of  Belthazer  Obeones- 
ser,  a  Swiss  artist.  There  is  no  account  of  any 
work  accomplished  by  him. 

Mrs.  Nora  Fretageot  says  in  her  official  guide 
to  New  Harmony:  "The  benevolent  schemes  of 
William  Maclure  to  provide  education  for  the 
masses,  and  his  way  for  disseminating  knowl- 
edge, resulted  in  establishing  at  New  Harmony 
his  most  permanent  benefaction,  the  Library  of 
the  Workingmen's  Institute.  It  is  the  one  visible 
modern  result  of  all  its  founder's  passionate  de- 
sire and  incessant  interest  in  behalf  of  the  'men 
who  earned  their  living  by  the  sweat  of  their 
brows.'  " 

The  Library  of  the  Workingmen's  Institute 
was  established  in  1838,  as  well  as  a  circulating 
library  which  supplied  one  hundred  and  sixty 
frontier  settlements  ( one  hundred  and  forty-four 
in  Indiana  and  sixteen  in  Illinois)  with  good 
books  and  pictures,  when  Mr.  Maclure' s  death 
occurred  in  1840,  before  his  plans  were  perfected. 
He  left  the  society  to  struggle  for  its  continuation 
as  best  it  could.  The  librarians  have  given  their 
efforts  for  years  to  keeping  the  valuable  old 
books,  papers,  and  pictures  intact, 

32 


COL.  FRANCIS  VIGO       CHARLES  ALEXANDER  LESUEUR 


ART  INTERESTS 

Dr.  Edward  Murphy,  a  wealthy  citizen  who 
came  to  New  Harmony  in  his  youth,  during 
community  days  became  interested  in  the  work 
and  saw  with  prophetic  eye  what  might  be  ac- 
complished with  money.  He  helped  to  build 
the  library,  and  later  endowed  it.  To-day  it  is 
one  of  the  most  valuable  in  the  state.  Many 
thousand  volumes  are  on  its  shelves,  some  of 
them  rare  books.  There  are  more  than  four 
hundred  volumes  of  fine  arts  and  six  hundred 
volumes  of  useful  arts  (the  former  used  in  one 
year  by  an  average  of  four  hundred  and  twenty- 
nine  readers,  the  latter  by  an  average  of  three 
hundred  and  nineteen  readers) .  The  New  Har- 
mony people  delight  to  tell  that  they  have  a 
"population  of  twelve  hundred  people  and  a 
library  of  twenty  thousand  volumes."  When 
the  new  library  was  built  they  had  the  foresight 
to  add  two  upper  rooms,  one  for  a  museum,  the 
other  an  art  gallery.  Both  are  already  inade- 
quate. Of  the  fifty  pictures  in  gallery  and 
library,  some  are  of  historic  value,  many  selected 
by  Dr.  Murphy  in  Italy  and  other  parts  of 
Europe. 

Dr.  Murphy  established  and  endowed  a  free 
lecture  course,  which  included  a  students'  course. 
From  this  there  developed  an  art  school,  with 
teachers  from  the  Chicago  Art  Institute,  which 
was  maintained  for  six  years.     One  pupil  of 

33 


ART  AND  ARTISTS  OF  INDIANA 

this  school  must  be  mentioned :  Harry  Hawkins, 
whose  murals  in  the  Library  portray  the  historic 
scene  of  Father  Rapp  transferring  the  Har- 
mony property  to  Robert  Owen  (1825).  There 
is  also  a  mural  frieze  in  the  stock-room  which  is 
his  work. 

An  experiment  that  had  its  origin  in  New 
Harmony,  and  that  affected  the  early  art  of 
Indiana  to  a  greater  extent  than  anything  else, 
was  the  panoramic  work  of  John  Banvard.  He 
was  born  in  New  York  in  1815,  and  in  1836  came 
to  New  Harmony,  where,  in  company  with  three 
or  four  other  young  men,  he  "got  up"  some  dio- 
ramic  paintings,  fitted  them  in  a  flat-boat  which 
they  built  for  the  purpose,  and  started  down 
the  Wabash  with  the  intention  of  coasting  down 
the  rivers  to  New  Orleans,  exhibiting  them  to 
the  settlers  along  the  way.  They  met  with  many 
mishaps  and  adventures.  The  little  money  they 
had  was  soon  used ;  they  were  stranded  on  island 
and  sandbar ;  their  provisions  became  exhausted ; 
and  when  they  finally  landed  at  a  settlement 
they  were  willing  to  make  very  lijberal  terms  for 
admission  to  their  exhibition.  It  was  no  unusual 
thing  to  see  a  family  coming  to  the  show  boat,  the 
father  with  a  bushel  of  potatoes,  the  mother  with 
a  fowl,  and  the  children  with  a  pumpkin  apiece, 
to  pay  for  their  admission. 

However  many  the  hardships,  the  young  men 
34> 


ART  INTERESTS 

continued  on  down  the  Mississippi  River  with 
their  floating  diorama.  While  in  New  Orleans 
Banvard  sold  out  his  interest  and  obtained  a 
commission  to  do  some  painting.  About  this 
time  he  saw  in  a  foreign  journal  this  statement: 
"America  has  some  of  the  most  picturesque  and 
magnificent  scenery  in  the  world,  but  there  is  no 
American  artist  adequate  to  the  task  of  giving  a 
correct  and  faithful  representation  of  it."  This 
stimulated  him  to  undertake  an  original  and 
herculean  task  by  which  the  talent  of  this  country 
should  be  redeemed.  It  was  to  be  "Banvard's 
Panorama  of  the  Mississippi  River,  painted  on 
three  miles  of  canvas,  exhibiting  a  view  of  coun- 
try twelve  hundred  miles  in  length,  extending 
from  the  mouth  of  the  Missouri  River  to  the 
city  of  New  Orleans,  and  to  be  by  far  the  larg- 
est picture  ever  executed."  ^ 

Banvard  worked  his  way  back  by  a  river  boat 
to  the  north,  where  he  procured  a  skiff  and  the 
necessary  drawing  materials,  and  in  the  spring  of 
1840  made  the  first  sketch  for  his  venture.  He 
spent  four  hundred  days  in  a  difficult  journey 
down  the  Mississippi  River,  making  his  nu- 
merous sketches,  from  which  he  was  to  produce 
the  largest  painting  in  the  world.  Realizing  the 
necessity  for  money  to  carry  out  this  grand  proj- 
ect, he  spent  some  time  in  trading  on  the  rivers, 

*  So  it  was  described  in  a  pamphlet  published  in  Boston  in  1847. 

35 


ART  AND  ARTISTS  OF  INDIANA 

accumulating  the  neat  sum  (for  pioneer  days)  of 
three  thousand  dollars. 

His  drawings  completed,  he  returned  to  Louis- 
ville, Kentucky,  where  he  erected  an  immense 
wooden  building  in  the  extreme  outskirts  of  the 
city,  where  he  assembled  the  material  for  the 
work  he  was  undertaking.  There  were  scattered 
about  piles  of  original  sketches,  bales  of  canvas, 
heaps  of  boxes,  paint-pots,  kegs,  jars  of  oil,  and 
brushes  without  order  or  arrangements.  Here 
he  transferred  his  drawings  to  canvas,  and  all 
was  completed  in  the  autumn  of  1846.  His  ob- 
ject in  painting  this  picture  in  the  West  was  to 
exhibit  it  to  and  procure  testimonials  from  those 
who  were  best  calculated  to  judge  of  its  fidelity 
— the  practical  river  men  of  the  day.  They 
gladly  responded  with  letters  of  commendation. 

The  huge  canvas  was  exhibited  by  placing  it 
upon  two  upright  revolving  cylinders,  the  canvas 
gradually  passing  before  the  audience  while  the 
artist  explained  the  work.^ 

The  panorama  was  exhibited  in  Armory  Hall 
in  Boston  in  April,  1847,  before  a  fashionable  au- 
dience of  men  and  women,  including  Governor 
Briggs  and  a  number  of  the  members  of  the 
legislature  and  high  officers  of  State.  After  view- 


*  From  a  letter  of  Lieutenant  S.  Woodworth  to  his  friend  General 
Morris  in  New  York,  published  in  the  National  Press.  After  the 
first  showing  of  a  few  weeks  in  Louisville,  Kentucky,  the  immense 
canvas  and  apparatus  were  shipped  to  the  East. 

36 


SELF-PORTRAIT  GEORGE  WINTER 

OWNED  BY  MRS.   C.   GORDON   BALL,   LAFAYETTE,  INDIANA 


ART  INTERESTS 

ing  the  pictures  the  Honorable  William  Brad- 
bury, Speaker  of  the  House,  proposed  that  an 
expression  of  opinion  be  given  regarding  the 
merit  of  the  painting.  Then  Governor  Briggs 
took  the  chair,  and  after  some  explanatory  talk 
the  Honorable  Mr.  Calhoun,  president  of  the 
Senate,  arose  and  offered  commendatory  resolu- 
tions and  a  tribute  to  native  American  talent.^ 

The  story  of  this  adventure  is  given  for  two 
reasons:  because  Banvard  did  the  first  painting 
to  start  his  enterprise  in  New  Harmony,  Indiana, 
and  because  of  the  fad  it  created  over  the  entire 
country  for  panoramic  pictures,  which  were  par- 
ticularly fruitful  in  Indianapolis.  They  were 
called  by  various  names — dioramic,  elydoramic, 
dramoramic,  and  finally  cycloramic.  This  early 
form  of  entertainment,  with  its  huge  canvases, 
proved  no  doubt  as  popular  as  the  present-day 
moving-picture  shows. 

*  From  the  Boston  Evening  Gazette,  April,  1847. 


37 


III.    GEORGE  WINTER  AND  HIS  CON- 
TEMPORARIES 

CONTEMPORANEOUS  with  the  meager 
art  movements  of  southern  Indiana  was  an 
independent  artist  painting  among  the  various 
tribes  of  Indians  located  along  the  Wabash 
River.  The  many  sketches  and  paintings  by 
George  Winter  of  the  Indian  tribes  who  in- 
habited Indiana  are  of  great  historic  value  to 
the  State  and  are  not  yet  adequately  appre- 
ciated. Like  Remington,  his  art  is  authorita- 
tive. Shortly  after  coming  to  America  he  be- 
came so  interested  in  the  Indians  and  their  man- 
ner of  living  that  he  gave  up  the  comforts  of  the 
East  and  came  into  their  midst,  enduring  the 
many  deprivations  of  the  pioneer  life  on  the 
frontier,  that  he  might  study  the  character,  cos- 
tume, and  life  of  the  red  men  in  their  native 
environment. 

George  Winter  was  a  foreigner  by  birth,  the 
youngest  of  twelve  children.  He  was  born  at 
Portsea,  England,  in  1810.  His  family  were  of 
the  educated  class,  and  they  gave  him  every  pos- 
sible advantage.  His  taste  for  art  manifested 
itself  to  a  very  marked  degree  when  a  mere 

38 


GEORGE  WINTER 

child.  His  surroundings  were  all  conducive  to 
the  development  of  this  taste.  There  were  many 
persons  of  culture,  high  rank,  and  independent 
fortune  living  in  his  native  town  who  owned  col- 
lections of  celebrated  paintings,  and  there  was 
a  disposition  on  their  part  to  encourage  others 
of  similar  taste.  In  his  own  family  was  a  modest 
gallery  of  choice  paintings;  an  older  brother, 
an  enthusiastic  collector,  possessed  some  original 
work  by  Salvator  Rosa  and  other  Italian  as  well 
as  English  artists.  Their  gallery  was  often 
visited  by  connoisseurs,  and  thus  the  embryo  ar- 
tist had  the  opportunity  of  listening  to  many 
conversations  on  the  various  phases  of  art  and 
seeing  the  works  of  masters  from  his  earliest 
youth. 

When  he  determined  to  become  an  artist  he 
had  many  facilities  offered  him:  the  opportunity 
to  copy  from  the  neighboring  galleries,  criticism, 
direction,  and  suggestions  from  the  local  artists 
of  Portsea,  George  Honeybourn  and  Charles 
Ambrose,  who  were  portrait-painters  of  the  day. 
It  was  through  the  advice  of  the  latter,  who  was 
an  intimate  friend  of  the  family,  that  George 
Winter  was  sent  to  London,  where  he  studied, 
eventually  entering  the  Royal  Academy  as  a 
student.  Here  he  lived  and  worked  with  the 
artists  of  the  day  for  four  years.  In  1830  he 
came  to  America  and  resided  in  New  York  for  a 

39 


ART  AND  ARTISTS  OF  INDIANA 

few  years,  continuing  his  art  studies  at  the  Na- 
tional Academy  of  Design,  which  was  organized 
in  1825. 

In  1837  he  came  to  Indiana  via  Cincinnati, 
where  his  family  settled.  He  was  attracted  to 
the  West  by  the  proposed  migration  of  the  In- 
dians at  the  request  of  the  government.  A 
council  was  held  at  the  village  Kuwau-Nay  by 
Colonel  Abel  C.  Pepper,  with  a  view  to  sending 
the  Pottawattomies  west  of  the  Mississippi 
River.  A  large  number  of  Indians  were  as- 
sembled to  state  their  grievances  over  the  treaty 
stipulations  with  the  government.  A  court  was 
organized  and  all  the  proceedings  were  carried  on 
in  the  most  dignified  manner.  This  lasted  for 
a  number  of  days  and  afforded  an  excellent  op- 
portunity for  making  many  sketches  which  was 
done  with  great  accuracy.  These  sketches  are 
full  of  vital  historic  interest. 

It  was  the  native  Indian  in  his  quaint  costume 
that  brought  Winter  first  into  primitive  Indiana, 
and  the  Indian  remained  his  favorite  subject. 
To-day  his  most  valued  pictures,  from  a  historic 
as  well  as  an  artistic  point  of  view,  are  those 
of  the  Indian.  He  made  friends  with  them  in 
various  ways — first  through  the  Indian  agent. 
Colonel  Abel  C.  Pepper,  and  through  the  famous 
Indian  interpreter  Joseph  Barron,  who  was  a 
government  appointee  and  who  served  General 

40 


GEORGE  WINTER 

William  Henry  Harrison  for  eighteen  years  in 
this  capacity.  Winter  always  proved  himself 
true  to  the  Indians,  and  this  friendship  gave 
him  entree  into  many  settlements  where  others 
found  no  welcome. 

The  painting  of  the  "Treaty  of  Kuwau-Nay" 
so  captivated  Colonel  Pepper  by  its  realism  that 
Mr.  Winter  presented  it  to  him  in  1836,  and 
it  has  been  passed  down  as  an  heirloom  in  the 
family.  At  the  present  time  it  is  owned  by 
Claude  Pepper,  of  St.  Petersburg,  Florida.  For 
more  than  a  year  he  lent  it  to  the  Chicago  His- 
torical Society.  There  is  a  tinge  of  the  romantic 
connected  with  this  painting.  After  the  picture 
passed  out  of  the  hands  of  Colonel  Pepper,  he 
left  no  trace  of  the  artist's  name,  and  for  some 
years  the  family  sought  in  vain  to  locate  him. 
This  was  done  several  years  ago  by  a  daughter 
of  the  present  Pepper  family  writing  to  Jacob 
Dunn,  of  Indianapolis,  asking  if  he  could  throw 
any  light  on  the  matter.  Mr.  Dunn,  remember- 
ing the  early  paintings  of  Indian  life  by  the 
father  of  Mrs.  C.  Gordon  Ball,  of  Lafayette, 
advised  the  Pepper  family  to  write  her.  This 
was  done.  Mrs.  Ball  remembered  having  heard 
her  father  say  that  he  had  been  with  Colonel 
Pepper  at  Kuwau-Nay,  and  had  painted  a  pic- 
ture of  the  treaty-gathering,  but  she  had  never 
seen  the  picture.    Later,  one  day  while  looking 

41 


ART  AND  ARTISTS  OF  INDIANA 

over  a  number  of  pencil  sketches  made  by  her 
father,  she  came  across  the  identical  sketch  from 
which  the  famous  painting  was  made,  and  thus 
established  the  identity  of  its  artist.  The  sketch 
and  picture  correspond,  and  the  Pepper  family 
have  now  added  to  the  picture  its  history  and  the 
artist's  name. 

Winter  first  established  himself  in  Logans- 
port,  which  was  the  location  of  the  Indian 
agency.  During  his  residence  there  he  married 
in  1840  Miss  Mary  Squier,  of  Dayton,  Ohio. 
He  formed  a  very  close  friendship  with  Judge 
Biddle,  who  was  a  great  patron  of  art,  and  with 
John  P.  Dillon,  the  early  historian  of  Indiana, 
both  of  whom  owned  many  of  his  paintings. 
While  residing  in  Logansport  much  of  his  best 
work  among  the  Miami  Indians  was  accom- 
plished. 

In  1851  he  went  to  Lafayette,  where  he  lived 
until  1874.  He  then  went  to  California  for  a 
year.  There  he  left  much  of  his  art  work,  which 
was  destroyed  by  the  earthquake  and  fire  of 
1906.  He  returned  to  Lafayette  in  1876,  and 
soon  after  died  of  apoplexy  while  sitting  in  the 
opera-house  during  a  convention  for  discussing 
and  promoting  the  Lake  Erie  &  Western  Rail- 
road. 

Winter  had  no  other  profession  than  that  of 

an  artist.     He  had  no  artist  companions  to  en- 

42 


GEORGE  WINTER 

courage  him  or  criticize  his  work,  and  but  the 
usual  inadequate  appreciation  of  his  pictures  on 
the  part  of  the  community.  Yet  he  was  intensely 
interested  in  his  work  at  all  times,  realizing  the 
historical  value  of  what  he  was  doing,  and  suc- 
ceeding well  enough  to  support  his  family  in 
comfort.  The  media  in  which  he  worked  were 
india  ink,  oil,  and  water-colors.  Besides  his 
favorite  subject,  the  Indian,  he  did  landscapes, 
many  of  them  historic,  portraits,  and  ivory  minia- 
tures. His  manner  of  painting  was  smooth  and 
delicate,  yet  vividly  colored  if  in  water-color  and 
full  of  the  finest  detail.  He  preferred  to  paint 
from  nature  and  pose,  though  some  of  his  work 
was  done  from  memory  and  hurried  sketches. 
Frequently  he  gave  over  to  the  custom  of  the 
day  and  transferred  to  canvas  his  own  mental 
visions  of  ideal  landscapes. 

His  most  valuable  pictures  are  still  in  an  un- 
broken collection  owned  by  his  daughter,  Mrs. 
C.  Gordon  Ball,  of  Lafayette.  There  are  more 
than  seventy  water-colors  and  oil  paintings. 
Thirty-eight  of  the  water-colors  are  Indian  por- 
traits. Four  of  the  oil  paintings  are  groups 
of  Indian  chiefs  and  squaws.  There  is  also  one 
life-size  portrait  of  Francis  Godfrey,  the  last 
chief  of  the  Miamis.  The  Indian  life  and  cus- 
toms are  vividly  portrayed  by  *'Battle  of  Tip- 
pecanoe," "The  Treaty  of  Kuwau-N'ay,"  *Tlay- 

43 


ART  AND  ARTISTS  OF  INDIANA 

ing  the  Game  of  Moccasin,"  "The  Site  of 
Prophetstown,"  and  the  "Indian  Captive."  His 
water-color  sketch  of  the  old  home  of  Frances 
Slocum,  on  the  Mississineva  River,  sketched  on 
the  spot  before  her  death,  will  live  in  history  if 
not  in  art. 

"His  drawings  are  well  made,  and  true  to 
life.  He  shows  himself  in  his  water-colors,  as 
he  seldom  does  in  his  oils,  an  acute  and  daring 
observer,  and  recorder  of  the  customs  and  color 
of  the  Indian  life  as  he  found  it  in  Indiana. 
The  water-colors  are  of  uniform  size,  one  foot 
square.  The  greater  part  of  them  are  Indian 
portraits,  with  landscape  backgrounds.  They  are 
beautiful  color  studies,  the  Indian  costumes  of 
that  day  with  their  rich  riot  of  hues  and  the 
finery  furnished  by  the  traders  making  rarely  pic- 
turesque subjects.  Some  of  them  are  Indian 
chiefs  prominent  in  their  day  but  now  lost  to 
memory,  while  a  number  are  of  Indian  women, 
belles  of  their  tribes,  gorgeously  appareled.  Sev- 
eral represent  modes  of  burial,  manner  of  travel- 
mg,  etc.,  and  two  are  of  Frances  Slocum,  the 
white  captive,  whose  strange  story  has  been  re- 
peatedly published.  There  is  a  descriptive  and 
biographical  key  to  the  water-colors — ^the  sheets 
correspond  in  size  to  the  pictures,  and  the  whole 
makes  a  large  portfolio  of  great  value."  ^ 

*  George  S.  Cottman,  "Indiana  Magazine  of  History,"  1905. 

44 


BURIAL  OF  INDIAN  SQUAW 


GEORGE  WINTER 


LOGANSPORT,   INDIANA 


GEORGE  WINTER 

These  pictures  adequately  and  graphically 
record  the  characteristics  and  life  of  the  Indian 
as  no  literary  record  could  do. 

At  this  early  date  there  was  widespread  in- 
terest in  Frances  Slocum,  the  "lost  sister,"  who 
lived  the  life  of  an  Indian  squaw  for  seventy 
years.  Her  Indian  name  was  Mon-o-con-a-qua. 
She  was  the  wife  of  She-buck-o-wah,  the  chief 
of  the  "Deaf  Man's  Village."  In  1777  this 
little  auburn-haired  girl  was  stolen  from  the 
home  of  her  Quaker  parents,  who  lived  near 
Wilkesbarre,  Pennsylvania.  There  was  an  un- 
tiring and  unending  search  on  the  part  of  her 
people,  but  she  was  carried  far  into  the  wilder- 
ness of  the  West,  where  she  was  discovered  when 
an  old  woman,  and  she  ended  her  life  among  the 
Miami  Indians  of  Indiana. 

To  show  Winter's  descriptive  power  as  well  as 
manner  of  painting,  I  quote  the  following  from 
an  early  communication  of  his  to  the  Philadelphia 
Press,  which  was  the  means  of  the  discovery  of 
the  long  lost  daughter  by  the  Slocum  family: 

In  the  year  1839,  at  the  request  of  the  Slocum  family,  I 
visited  the  "Deaf  Man's  Village"  for  the  purpose  of  sketch- 
ing the  likeness  of  Frances,  which  is  the  only  effort  of  the 
pencil  of  her  executed  from  life.  Her  history  being  so 
romantic  and  interesting,  I  availed  myself  of  the  op- 
portunity then  and  there  of  making  sketches  of  the 
captive's  home  from  several  points  of  vievr,  and  other 
surroundings  that  I  thought  would  be  of  general  interest. 
My  visit  to  the  captive's  home  was  attended  with  many 

45 


ART  AND  ARTISTS  OF  INDIANA 

interesting  circumstances.  It  was  the  potent  auxiliary  in 
satisfying  a  desire  of  seeing  and  knowing  the  red  races 
in  their  aboriginal  homes.  Preparations  were  then  made 
for  the  sitting.  An  old  split-bottom  chair  was  brought 
in  by  Kick-ke-re-quah  (the  oldest  of  her  three  daughters) 
from  the  adjoining  room,  which  I  placed  near  a  little 
window  so  as  to  obtain  the  best  angle  of  light  to  fall 
upon  her. 

Frances  Slocum  presented  a  very  singular  and  pictur- 
esque appearance.  Her  tout  ensemble  was  unique.  She 
was  dressed  in  red  calico  pes-mo-hin,  or  skirt,  figured 
with  large  yellow  and  green  figures;  this  garment  was 
folded  within  the  upper  part  of  her  mech-a-ko-teh,  or  petti- 
coat, of  black  cloth  of  excellent  quality,  bordered  with 
red  ribbon.  Her  nether  limbs  were  clothed  with  red 
fady  leggins,  winged  with  green  ribbon,  her  feet  were 
bare  and  moccasinless.  Kick-ke-re-quah,  who  seemed  not 
to  be  without  some  pride  in  her  mother's  appearing  to 
the  best  advantage,  placed  a  black  silk  shawl  over  her 
shoulders,  pinning  it  in  front.  I  made  no  suggestions  of 
any  change  in  these  arrangements  but  left  the  toilette  unin- 
fluenced in  any  one  particular. 

Frances  placed  her  feet  across  upon  the  lower  round  of 
the  chair.  Her  hands  fell  upon  her  lap  in  good  position. 
Frances  Slocum's  face  bore  the  marks  of  deep-sealed  lines. 
Her  forehead  was  singularly  interlaced  with  right-angular 
lines  and  the  muscles  of  her  cheeks  were  of  ridgy  and 
colored  lines.  There  were  no  indications  of  unwonted 
cares  upon  her  countenance  beyond  time's  influences, 
which  peculiarly  mark  the  decline  of  life.  Her  hair, 
originally  dark  brown,  was  now  frosted.  Though  bear- 
ing some  resemblance  to  her  family  (white),  yet  her 
cheek-bones  seemed  to  have  the  Indian  characteristics,  face 
broad,  nose  bulby,  mouth  indicating  some  signs  of  severity, 
her  eyes  pleasant  and  kind.  The  ornamentation  of  her 
person  was  very  limited.  In  her  ears  she  wore  a  few 
small  ear-bobs,  peculiarly  Indian  style  and  taste. 

Frances  Slocum  was  low  in  stature,  being  scarcely 
five  feet  in  height.  Her  personal  appearance  suggested  the 
idea  of  her  being  a  half  breed  Potta-wat-tomie  woman 
rather  than  a  Mi^mi  squaw.     The  Miamis  and  Potta-wat- 

46 


GEORGE  WINTER 

tomies  have  very  distinctive  characteristics  in  regard  to 
stature  and  conformation  to  head  and  facial  appearance. 
The  above  description  of  the  personality  of  Frances 
Slocum  is  in  harmony  with  the  effort  of  my  pencil. 


On  May  17,  1900,  near  Peru,  Cass  County, 
Indiana,  there  was  unveiled  a  substantial  bronze 
monument  which  was  placed  over  the  grave  of 
Frances  Slocum.  It  is  to  preserve  the  memory 
of  one  whose  life  was  so  inevitably  and  closely 
interwoven  with  that  of  the  Miami  Indians,  as 
well  as  the  conquered  red  men,  the  vanished  race, 
who  so  picturesquely  populated  the  deep  forests 
and  sunlit  prairies  of  early  Indiana.  Represent- 
atives were  in  attendance  from  the  Slocum 
family,  from  Michigan,  Ohio,  and  Eastern 
States,  as  well  as  remnants  of  the  Miami  tribe 
from  the  reservation  in  Kansas.  There  were 
nearly  two  hundred  Indians  present.  Gabriel 
Godfrey,  son  of  the  last  Chief  Francis  Godfrey, 
was  present,  bringing  with  him  the  garments 
worn  by  Frances  Slocum  when  her  picture  was 
painted  by  Winter. 

George  Winter  was  well  known  in  northern 
Indiana  as  a  painter  of  historic  value.  The  Har- 
rison campaign  in  1840  was  called  the  "Tippe- 
canoe Campaign."  Delegations  from  all  parts 
of  the  State  visited  the  renowned  battle-ground. 
Winter,  living  near  by  in  Lafayette,  conceived 
the  idea  and  painted  six  different  canvases,  two 

47 


ART  AND  ARTISTS  OF  INDIANA 

of  them  having  a  dimension  of  "one  hundred 
and  fifty-two  square  inches,"  taken  from  differ- 
ent points  of  view,  conveying  an  excellent  idea 
of  the  battle-ground  as  well  as  the  surrounding 
country.  He  painted  these  pictures  with  a  defi- 
nite purpose  in  mind.  This  is  shown  by  the 
following  excerpt  from  one  of  his  letters : 

Although  I  have  been  defeated  in  getting  these  views 
before  the  public  eye  at  the  time  when  political  excitement 
ran  high,  yet  I  have  often  indulged  in  the  consoling  hopes 
that  Harrison  would  be  elected  and  that  an  interest  would 
still  be  felt.  ...  I  think  if  I  could  get  these  pictures  to 
Cincinnati  sometime  before  the  General  sets  out  for  the 
White  House  .  .  .  that  it  would  be  a  favorable  time  to 
exhibit  them.  I  have  also  thought  it  would  be  a  propitious 
time  too,  either  at  the  inauguration  or  during  the  spring, 
to  exhibit  them  at  Washington. 

This  was  the  dream  of  his  life,  but  nothing 
ever  came  of  the  plan.  The  pictures  are  not  now 
in  existence.  Of  one  there  is  only  a  meager 
record.  It  was  presented  to  the  State  during  the 
time  of  the  old  State  House,  and  has  been 
neglected  and  lost  in  the  lapse  of  time. 

In  the  busy  pioneer  days,  when  the  necessities 
of  life  were  uppermost  in  people's  minds,  there 
is  supposed  to  have  been  small  appreciation  for 
the  fine  arts;  yet  Winter  was  able  to  live  and 
provide  for  his  family  by  the  work  of  his  brush. 
He  created  a  sentiment  for  art  among  his  friends. 
He  was  held  in  the  highest  esteem  by  the  promi- 
nent men  of  the  day.     He  was  genial,  witty,  a 

48 


THE  BEACON  LIGHT  GEORGE  WINTER 

OWNED  BY  MRS.  J.  P.  SMITH,  INDIANAPOLIS 


GEORGE  WINTER 

man  of  good  views  and  liberal  education,  a  great 
favorite  among  young  and  old,  and  had  many 
patrons  all  over  the  State.  His  strong  personal- 
ity pervaded  his  work,  and  his  recognition  of  the 
importance  of  the  transient  Indian  history  of 
the  day,  as  well  as  that  of  the  rapid  growing  of 
towns  into  small  cities,  caused  him  to  make  nu- 
merous accurate  sketches,  many  of  which  were 
left  as  sketches.  He  was  a  rapid  painter.  He  ac- 
cumulated many  canvases,  and  once  a  year  about 
holiday  time  he  would  have  a  "grand  distribu- 
tion," selling  chances  for  from  one  to  two  dollars, 
making  his  work  bring  him  a  very  fair  price, 
and  placing  good  pictures  on  the  walls  of  people 
not  only  in  the  towns  along  the  Wabash  River 
but  in  Chicago  and  other  Illinois  towns  and  the 
Middle  West. 

He  painted  many  portraits  of  prominent 
citizens  in  the  vicinity  of  Lafayette,  among  them 
being  Godlove  S.  Orth,  John  Stein,  Dr.  Robert 
O.  Ferrel,  Judge  Biddle,  John  Purdue  (sev- 
eral large  portraits).  Dr.  Ezra  Deming,  and 
Colonel  Richard  De  Hart.  His  pictures  were  al- 
ways signed  on  the  back  of  the  canvas  and  never 
in  front.^ 

Many  of  Winter's  Indian  pictures  were  on  ex- 

*  Winter's  Eldorio  Paintings — "a  style  of  painting  which  adds 
the  freshness  of  water-colors  to  the  mellowness  of  oil  paintings." 
Journal,  July  30,  1855.  Probably  painted  by  George  Winter,  and 
exhibited  by  his  nephew,  Robert  Winter,  of  Cincinnati. 

49 


ART  AND  ARTISTS  OF  INDIANA 

hibition  in  the  rooms  of  the  Historical  Society  of 
Chicago  in  1914,  where  they  were  much  valued 
for  their  historical  worth,  and  where  they  would 
have  remained  had  they  been  for  sale. 

His  only  pupil  that  we  have  any  record  of  is 
J.  Insco  Williams,  who  was  born  in  Ohio  in 
1815  and  studied  in  the  old  Academy  at  Phila- 
delphia under  Russell  Smith  and  Thomas  Sul- 
livan, Later  he  worked  in  the  studio  of  George 
Winter  in  Lafayette.  He  was  essentially  a  por- 
trait- and  figure-painter,  though  he  did  work 
of  a  general  character.  He  made  his  greatest 
financial  success  with  the  two  panoramas  he 
painted  of  the  Bible,  one  of  which  was  destroyed 
by  fire  in  1851  in  the  depot  at  Gladstone,  Illinois. 
The  other,  a  very  ambitious  effort,  met  with 
much  favor,  and  was  exhibited  in  various  parts 
of  the  country  between  the  years  1856  and  1871. 
In  the  end  this  picture  sold  well  enough  to  make 
the  artist  comfortable  for  the  rest  of  his  life. 
There  were  some  descendants  of  Williams  who 
painted  in  various  parts  of  the  State,  one  nephew, 
J.  N.  Williams,  a  landscape-painter,  died  a  few 
years  ago  at  Richmond,  Indiana,  at  an  advanced 
age. 

Another  Wayne  County  man  was  De  Scott 
Evans,  son  of  Dr.  D.  S.  Evans  and  Nancy  A. 
Evans.  He  was  born  March  28,  1847,  in  the 
quiet  little  town  of  Boston,  Indiana.     One  of 

50 


GEORGE  WINTER 

the  very  early  indications  of  De  Scott  Evans's 
talent  was  observed  when,  on  the  headboard  of 
an  old  bedstead,  he  painted  a  remarkably  accu- 
rate and  expressive  portrait  of  Washington, 
using*  paint  and  brushes  obtained  from  some 
house-painters  at  work  on  the  home  dwelling. 

In  his  early  life  he  had  more  than  the  average 
privileges  of  country  boys  of  that  time.  He  en- 
joyed the  advantages  of  Miami  University,  but 
did  not  pursue  his  studies  to  graduation.  There 
was  a  tingling  in  his  finger-tips  for  pencil  and 
brush.  He  saw  beauty  all  around  him.  Such 
spirits  cannot  be  bound  down  to  dull  routine. 
Too  young  to  enlist  in  the  war  of  the  rebellion, 
yet  he  was  full  of  patriotic  impulses.  When  his 
father  went  to  the  front  as  an  army  surgeon, 
the  son  went  with  him.  The  pale-faced  boy 
sketched  Island  No.  10,  as  they  were  passing 
it,  with  such  fidelity  to  nature  as  to  attract  the 
attention  of  distinguished  army  officers. 

He  never  received  much  artistic  training. 
While  at  the  university  the  Professor  of  Paint- 
ing and  Music  gave  him  instructions  for  about 
three  months.  At  twenty-six  years  of  age  he 
was  appointed  Professor  of  Music  and  Art  in 
Smithson  College  at  Logansport,  Indiana,  and  a 
year  or  two  later  he  was  assigned  to  a  similar 
position  at  the  Mount  Union  College  at  Mount 
Union,  Ohio. 

51 


ART  AND  ARTISTS  OF  INDIANA 

He  soon  after  opened  a  studio  on  Euclid 
Avenue  in  Cleveland,  Ohio.  All  this  time  he  was 
busy  with  pencil  and  brush  and  made  rapid 
strides  in  his  chosen  profession.  His  work  at- 
tracted public  attention.  As  a  painter  of  dra- 
pery he  was,  perhaps,  unexcelled.  His  filmy  lace- 
work  over  sheen  of  silk  looked  as  if  the  faintest 
breath  of  air  would  stir  it  into  motion.  In  1877 
he  made  a  trip  to  Paris,  France.  Ex-Governor 
Noyes,  who  was  his  personal  friend,  was  then 
Minister  to  France.  Through  him  he  was  intro- 
duced  to  the  great  French  artist  Adolphe  Wil- 
liam Bouguereau,  and  profited  by  his  instruc- 
tions, criticisms,  and  suggestions.  He  received 
the  attention  of  many  distinguished  artists  and 
lovers  of  art  in  the  great  French  capital. 

In  1887  he  left  his  Cleveland  studio  and  opened 
a  larger  one  in  the  Carnegie  Building  in  New 
York  City.  His  success  and  fame  kept  equal 
pace.  In  1898  he  again  started  to  visit  Paris, 
taking  with  him  his  two  beautiful  daughters. 
He  sailed  from  New  York  on  the  great  French 
steamer  Burgoyne  on  the  2d  day  of  July.  On 
the  4th  the  ill-fated  steamer  went  down,  and  all 
that  was  mortal  of  De  Scott  Evans  and  his 
daughters  sank  in  ocean  depths. 

Gentle,  calm,  confiding,  and  honest,  true  to  his 
calling  and  himself,  true  to  his  God  and  his 

52 


GEORGE  WINTER 

fellow-men,  his  success  and  example  will  ever  be 
an  encouragement  to  struggling  genius,  and  his 
friends  can  only  say  of  him  and  his  daughters: 

Humbly  we  bow  to  Fate's  decree, 
Yet  we  had  fondly  hoped  to  see 
Thee  mourn  for  us,  not  us  for  thee. 

Another  artist  of  this  period  was  Lewis  Cass 
Lutz,  born  in  Cambridge  City,  Indiana,  August 
18,  1855,  only  child  of  John  C.  and  Nancy 
Gwynn  Lutz.  His  father,  a  positive  thinker  and 
forceful  political  writer,  was  founder  of  the 
Western  Mirror,  at  the  time  the  only  Democratic 
paper  in  the  sixth  congressional  district.  He  died 
when  his  son  was  but  twelve  years  of  age.  Never 
robust  in  health,  Lewis  Lutz's  interests  were  in 
the  quieter  studies  rather  than  the  more  vigorous 
forms  of  youthful  life.  A  natural  gift  for  draw- 
ing and  painting  developed  early  in  youth,  ex- 
pressing itself  in  most  beautiful  copies  of  en- 
gravings in  pencil  before  ever  having  seen  any 
one  paint  or  draw.  These  drawings  so  convinced 
his  friend,  the  late  Dr.  L.  R.  Johnson,  of  his 
talent  and  ability  that  through  his  influence  he 
was  enabled  to  enter  the  Cincinnati  School  of 
Design  at  the  age  of  nineteen. 

Here  a  wonderful  field  of  opportunity  for 
study  opened  up  to  the  young  man;  for  in  the 
same  building  was  located  the  library  of  the 

53 


ART  AND  ARTISTS  OF  INDIANA 

Young  Men's  Mercantile  Association,  where  he 
spent  all  his  spare  moments  with  the  books  he 
loved  as  much  as  his  art,  and  where  for  a  couple 
of  years  he  was  in  charge  of  the  reading-room 
on  Sundays. 

His  progress  in  drawing  and  painting  was  so 
great  that  three  years  after  entering  the  school 
he  was  given  the  position  of  instructor  of  one  of 
the  preparatory  classes. 

In  1881,  together  with  his  close  friend  Thomas 
S.  Noble,  principal  of  the  school,  he  left  to  study 
in  Munich.  Upon  his  return  after  three  years, 
he  took  charge  of  one  of  the  advanced  life  classes, 
which  position  he  held  until  his  death. 

In  1891  the  directors  of  the  school,  now  under 
the  direction  of  the  Art  Museum  Association, 
and  called  the  Cincinnati  Art  Academy,  resolved 
to  send  one  of  the  faculty  abroad  each  year,  so 
that  a  steady  development  of  method  and  study 
could  be  maintained  along  the  broadest  lines  in 
the  school.  Lutz  was  the  first  one  selected,  and 
was  thus  able  to  enjoy  a  year  and  a  half  of  study 
in  Paris  and  France. 

He  was  an  excellent  instructor,  interested  at 
all  times  in  the  work  of  the  academy  and  all 
its  students ;  kind  and  encouraging,  yet  as  severe 
with  them  in  his  criticisms  as  with  himself. 

A  scientific  mind  as  well  as  an  artistic  sense 
kept  his  work  above  the  average;  and,  while  his 

54 


GEORGE  WINTER 

best  efforts  were  made  in  behalf  of  the  students, 
his  own  work  kept  steadily  on  expressing  his 
love  and  devotion  to  his  chosen  vocation.  Many 
of  his  ambitions  for  the  academy  and  its  students 
have  since  been  realized  in  a  much  larger  way 
than  he  had  ever  hoped.  His  own  constant  hold- 
ing to  the  highest  ideals  in  art  helped  pave  the 
way  to  this  realization.  Composition,  illustra- 
tion, portrait-painting,  life-drawing,  all  received 
his  best  consideration,  for  he  gave  only  his  best. 
During  the  early  spring  of  1893  a  fall  upon  the 
icy  steps  of  the  Art  Museum  and  the  severe 
spinal  concussion  then  sustained  brought  on  the 
acute  brain  suffering  that  led  to  his  death  on 
November  4  of  the  same  year,  at  a  time  when  he 
was  most  ambitious  for  his  future  work. 

The  McMicken  School  of  Design  was  a  timely 
institution  for  the  talented  youth  of  the  Middle 
West.  Indiana  sent  her  quota  of  students. 
Among  them  was  Wilbur  Winfield  Woodward. 
He  was  born  on  January  8,  1851,  in  the  village 
of  St.  Omer,  Decatur  County,  Indiana.  Soon 
afterward  his  parents  moved  to  the  town  of  St. 
Paul  in  the  same  county,  where  the  subject  of 
this  sketch  remained  until  he  was  sixteen  years 
old,  when,  with  his  parents,  he  moved  to  Greens- 
burg,  the  county-seat  of  Decatur  County. 

Very  early  in  life  he  evinced  a  talent  for  draw- 
ing and  painting,  which  afterward  became  al- 

55 


ART  AND  ARTISTS  OF  INDIANA 

most  a  consuming  passion  with  him.  It  was  the 
wish  of  his  parents  that  he  should  attend  college, 
but  to  this  proposition  he  earnestly  objected  and 
begged  that  an  opportunity  be  given  him  to  pur- 
sue his  art  studies.  He  was  sent  to  Cincinnati 
and  placed  with  T.  C.  Webber — ^then  one  of  the 
leading  artists.  Shortly  afterward  the  Mc- 
Micken  School  of  Design  was  organized,  through 
the  generosity  of  one  of  Cincinnati's  most  able 
and  generous  citizens,  for  the  purpose  of  estab- 
lishing a  school  wherein  young  men  and  women 
of  the  State  of  Ohio  showing  any  special  talent 
might  have  the  opportunity  to  develop.^  In  or- 
ganizing the  school,  the  original  intention  of  the 
generous  patron  was  changed  so  as  to  admit 
painting  as  well  as  drawing,  and  Thomas  S. 
Noble  was  installed  as  instructor.  Woodward 
was  the  first  pupil  to  enter  the  school. 

After  a  course  of  four  years  the  officers  and 
directors  of  the  school  announced  that  they  would 
give  a  prize — a  gold  medal — to  the  pupil  pre- 
senting the  best  crayon  drawing.  Out  of  a  hun- 
dred or  more  sketches  presented,  the  one  offered 
by  young  Woodward  took  first  prize,  and  he  was 
presented  with  a  gold  medal  in  the  form  of  a 
painter's  palette. 

He  went  to  Europe,  where  he  spent  one  year 

*The  McMicken  School  of  Design  afterward  became  the  Art 
Academy  of  Cincinnati. 

56 


GIRL  IN  ORCHARD  DE  SCOTT  EVANS 

OWNED  BY   CHARLES  C.   BURNETT,  LOS  ANGELES,   CALIFORNIA 


GEORGE  WINTER 

studying  in  Antwerp  and  one  year  in  Paris. 
Later  he  taught  for  one  year  at  the  McMicken 
School,  then  returned  to  Paris,  where  he  stayed 
for  seven  years.  Before  going  he  had  made  a 
large  crayon  drawing  and  left  it  with  Noble,  his 
beloved  preceptor,  with  the  understanding  that 
if  he  never  returned  the  drawing  should  be  the 
property  of  the  art  school.  The  next  year  Cin- 
cinnati held  an  industrial  exposition  open  to  the 
world,  in  which  the  fine  arts  were  a  leading  fea- 
ture. Noble  presented  to  the  Fine  Arts  Com- 
mittee Woodward's  drawing,  which  was  awarded 
the  first  prize. 

Young  Woodward's  paintings  were  twice  ad- 
mitted to  the  Paris  Salon.  While  in  Paris  he 
painted  many  pictures  that  elicited  strong  com- 
mendation from  leading  critics  and  journals  of 
that  city.  His  health  failing,  he  returned  to  his 
parents,  who  had  in  his  absence  removed  to  Law- 
renceburg,  Indiana,  where  a  year  later,  in  1882, 
he  died,  a  victim  to  that  fell  destroyer,  consump- 
tion. 

While  not  fortunate  in  having  many  of  his 
pictures  placed  in  public  galleries,  they  were 
eagerly  sought  by  wealthy  families  in  cities 
throughout  the  country.  The  Longworths  and 
Probascas,  Ben  Pittman  of  Cincinnati,  and  the 
Bonner  family  of  New  York  were  among  his 
warm  friends  and  generous  patrons. 

57 


IV.      EARLY    ARTISTS    IN    INDIAN- 
APOLIS 

AFTER  this  discursive  survey  of  the  artists 
in  the  various  parts  of  the  State  we  turn  to 
the  early  history  of  those  located  in  Indianapolis. 

The  capital  of  the  State  was  changed  from 
Corydon  to  Indianapolis  in  1821..  Gradually 
the  center  of  interest  moved  from  the  waterways 
of  the  southern  borders  to  the  future  metropolis. 
In  these  early  days  of  pioneer  life  the  citizens 
of  the  new  capital  welcomed  each  ardent  arrival 
with  unfeigned  interest,  inquiring  his  profession 
or  trade,  and  gladly  availed  themselves  of  his 
ability  whatever  it  might  be. 

Among  the  first  to  take  up  permanent  resi- 
dence was  one  Samuel  S.  Rooker  from  Tenn- 
essee. He  came  to  Indianapolis  in  1821,  and 
formally  announced  himself  as  a  sign-painter. 
His  story  has  often  been  narrated  and  has  suffi- 
cient color  for  a  curtain-raiser.  His  first  order 
was  from  Caleb  Scudder,  a  cabinet-maker,  and 
the  first  sign  hung  in  Indianapolis  read :  "Kalop 
Skodder,  Kabbinet  Maker" — done  in  fiery  red 
letters  glowing  on  a  pure  white  background.  The 
primitive  dwellers  made  no  objection;  neither 

58 


EARLY  ARTISTS 

did  they  hesitate  to  employ  the  new  sign-maker. 
The  shops  needed  signal  designation,  and  the 
wayfaring  man  wanted  to  know  where  he  could 
find  a  night's  lodging.  Mr.  Carter  wanted  the 
attention  of  the  passer-by,  so  he  had  Rooker 
make  a  sign  for  the  Rosebush,  and  Mr.  Haw- 
kins, one  for  the  Eagle  Tavern.  The  latter 
proved  to  be  a  turkey  when  finished.  For 
Major  Belle's  tavern  the  sign  painted  was  "Gen- 
eral La  Fayette  in  full  uniform."  In  the  latter 
the  painter  not  only  showed  what  talent  he  pos- 
sessed, but  ingenuity  and  skill  as  well.  The 
original  intention  was  to  paint  a  full-length  por- 
trait. After  finishing  the  head  and  body  he  found 
there  was  not  sufficient  space  for  the  legs. 
He  overcame  the  not  insurmountable  difficulty 
by  leaving  out  the  section  between  the  knee  and 
ankle,  and  with  the  spirit  of  adventure  attached 
the  feet  to  the  knee  joints,  giving  the  General 
the  appearance  of  being  extremely  short  of  stat- 
ure and  totally  unfit  for  the  rigorous  duties  of  a 
soldier.  During  many  years  this  sign  was  to  be 
found  on  the  Michigan  road  about  six  miles 
southeast  of  town.  On  the  national  road  was 
another  emblem,  intended  for  an  African  lion; 
however,  it  looked  more  like  a  prairie  wolf,  with 
which  the  artist  was  more  familiar. 

Mrs.  Rooker  was  indignant  when  "Sammy's" 
work  was  too  severely  criticized  or  lacked  the 

59 


ART  AND  ARTISTS  OF  INDIANA 

proper  public  appreciation.  The  early  citizens 
encourag«ed  him  sufficietntly,  and  he  even  at- 
tempted portraits,  though  none  has  been  handed 
down  to  posterity.  It  was  generally  acknowl- 
edged that  he  gave  continuous  satisfaction  as  a 
house-painter,  as  an  obliging  neighbor,  and  as 
an  honest  citizen.  However  quaint  and  old- 
fashioned  these  abnormal  town  signs  might  have 
been,  they  were  hailed  with  delight  by  the  weary 
stage-coach  traveler,  who  watched  for  them  to- 
ward the  end  of  a  long  day's  journey  on  the  old 
national  road,  then  so  new  and  such  a  conven- 
ience. For  it  meant  a  "Mansion  House"  or  some 
place  of  "private  entertainment"  where  one 
could  refresh  oneself  and  find  a  night's  rest.  The 
tavern  was  the  center  of  neighborhood  interest 
and  the  magic  circle  of  good-fellowship.  Some 
of  these  old  signs  were  still  in  use  as  late  as  1860, 
when  there  came  a  vogue  for  simplicity  and  plain- 
ness and  they  were  removed  for  the  modern  in- 
ventions. 

The  earliest  newspaper  established  was  the 
Indiana  Journal,  a  weekly  periodical.  In  an 
issue  under  date  of  March  27,  1828,  appeared 
the  following,  advertising  the  presence  and  occu- 
pation of  a  newcomer : 

R.  Terrell  respectfully  informs  the  citizens  of  Indian- 
apolis that  he  is  prepared  to  take  portraits  of  those  who  are 
willing  to  encourage  the  Fine  Arts.    Ladies  and  gentlemen 

60 


EARLY  ARTISTS 

are  invited  to  call  and  examine  a  specimen  of  his  work, 
at  the  Senate  Chamber.  He  will  also  execute  the  following 
kinds  of  paintings  in  superior  style:  Signs  for  Public 
Houses,  Stores,  Shops  or  Regimental  &  Company  Colours, 
together  with  all  kinds  of  oil  gilding  and  fancy  painting. 

This  advertisement  continued  until  July  of 
that  year.  Sometimes  the  notice  was  crowded 
out  by  foreign  or  Eastern  news,  which  was  al- 
ways from  four  to  six  weeks  old  at  best  upon  its 
arrival  and  must  be  given  immediate  and  ample 
space. 

The  next  artist  to  appear  was  M.  G.  Rogers, 
who  came  to  the  city  in  January,  1831,  placed 
the  following  in  the  paper,  which  continued  un- 
til July  9,  when  there  was  no  further  mention  of 
him: 

M.  G.  Rogers  respectfully  offers  his  services  to  the  in- 
habitants of  Indianapolis  as  a  portrait-painter.  He  will  re- 
main for  a  short  time  at  Mr.  Henderson's  tavern. 

There  was  no  further  advertisement  of  por- 
trait-painters, but  in  1837  there  was  a  commen- 
datory notice  of  the  work  of  a  man  named 
Ephraim  Brown  who  did  some  portrait  work.  He 
was  evidently  self-taught,  and  perhaps  a  native 
of  Indianapolis.  His  friend  "D,"  while  acknowl- 
edging himself  "not  a  judge  of  the  execution  of 
painting,"  still  feels  confident  that  Mr.  Brown 
"excels  in  giving  a  uniformly  exact  picture, 
and  urges  the  people  of  Indianapolis  to  encour- 

61 


ART  AND  ARTISTS  OF  INDIANA 

age  the  geniuses  of  their  own  soil,  for  here  he  first 
commenced,  and  here  he  has  hved  and  by  the 
force  of  his  industry  and  genius  advanced  until 
we  have  now  high  reason  to  be  proud  of  him." 
Diligent  research  has  discovered  no  further  no- 
tice of  Ephraim  Brown's  attempts  at  art. 

John  Gibson  Dunn  came  from  Lawrenceburg, 
Indiana,  to  Indianapolis  in  1840.  He  was  then 
about  twenty  years  of  age.  His  father,  George 
H.  Dunn,  was  at  that  time  State  Treasurer.  In 
speaking  of  the  ability  of  the  younger  Dunn, 
Jacob  Cox  said:  "He  was  a  genius  with  more 
ill- jointed,  badly  directed  talent  than  any  man  I 
ever  saw.  His  ideas  on  color  were  admirable, 
exquisite ;  his  invention  wonderful ;  but  he  never 
carried  a  picture  to  completion.  He  was  some- 
what of  a  poet  too,  but  wild  and  erratic  to  the 
last  degree.  His  death,  I  fear,  was  the  result 
of  dissipation."  During  the  few  months  Jacob 
Cox  was  in  Cincinnati  he  and  Dunn  had  a  studio 
together.  Dunn  was  an  eccentric  genius  who  had 
thought  out  a  scheme  for  lighting  the  city  by  the 
elevation  of  one  great  central  hght.  He  was  a 
physician  by  profession  and  wrote  poetry.^ 

The  only  known  picture  painted  by  him  was 
formerly  owned  by  the  Kiersted  family.  It  was 
a  temperance  picture,  representing  a  man,  pen 
in  hand,  hesitating  to  sign  the  pledge,  his  wife 

*  Coggeshall's  "Poets  and  Poetry  of  the  West.'* 

62 


EARLY  ARTISTS 

urging  him  on,  while  Satan  offers  him  a  glass  of 
liquor.  It  is  now  a  part  of  the  historic  collection 
of  the  John  Herron  Art  Institute. 

In  the  early  days  of  daguerreotypes  there  was 
a  casual  itinerant  with  a  cheap  apparatus,  who 
hastily  prepared  a  garret  and  turned  out  inch- 
square  pictures  at  big  prices.  The  profession  of 
daguerreotyping  was  always  spoken  of  as  an  art. 
It  was,  properly  speaking,  a  science,  which  was 
communicated  to  the  French  Academy  of  Science 
in  1839  by  the  inventer  Daguerre.  There  was 
little  of  art  apparent,  for  each  individual  took  the 
most  convenient  and  natural  pose  and  the  scien- 
tific process  was  applied. 

In  1842  Thomas  Worthington  Whitridge 
came  to  Indianapolis  from  his  home  in  Ohio, 
where  he  was  born  in  1820,  and  opened  the  first 
daguerrean  gallery.  It  was  located  on  the  south 
side  of  Washington  Street,  between  Meridian 
and  Illinois  Streets.  When  he  was  not  busy 
with  his  new  process  work,  he  spent  his  time  in 
painting,  creating  a  better  impression  than  any 
previous  local  artist.  He  was  a  close  friend  of 
the  distinguished  preacher  Henry  Ward  Beecher, 
who  owned  a  number  of  his  paintings,  which  he 
treasured  through  the  years  and  which  were  later 
found  in  his  home  in  Brooklyn,  New  York.  After 
spending  time  enough  here  to  paint  a  number  of 
portraits,  making  a  place  for  himself  in  the  com- 

63 


ART  AND  ARTISTS  OF  INDIANA 

munity,  Whitridge  left  for  Cincinnati,  where 
there  was  an  opportunity  to  see  some  good  pic- 
tures, and  a  considerable  pride  in  local  artists.  He 
remained  there  until  he  had  accumulated  suffi- 
cient money  and  orders  to  justify  a  trip  abroad, 
where  he  went  for  study,  and  did  not  return  until 
after  a  lapse  of  ten  years,  when  he  located 
permanently  in  the  East.  Whitridge,  in  a  letter 
of  February  3,  1909,  recalled  his  early  life  here, 
in  which  he  says : 

I  went  to  Indianapolis  in  the  very  first  days  of  the 
Daguerreotype  with  a  camera  and  plates.  I  had  been 
a  portrait-painter;  I  took  sick  in  Indianapolis,  and  this 
together  with  the  shinplaster  state  of  our  currency  soon 
brought  me  and  my  business  to  grief.  I  had  known  old 
Dr.  Lyman  Beecher  in  Cincinnati  all  my  life.  His  son 
Henry  Ward  came  to  Indianapolis  when  I  was  there  and 
began  his  preaching,  and  soon  converted  everybody  in 
town,  myself  among  the  number. 

I  lay  sick  at  Parker's  Hotel  for  some  time,  when  Henry 
came  for  me  in  a  carriage,  and  took  me  home  with  him.  I 
lived  in  his  family  just  one  year;  and  as  I  had  no  money 
and  wanted  to  offer  some  reward  for  his  kindness,  I 
painted  his  portrait  as  well  as  the  portraits  of  the  whole 
Beecher  family,  except  Edward,  who  was  away  off  in 
Chillicothe.  Whatever  became  of  those  portraits  I  don't 
know.  A  drawing  by  me  of  Mrs.  Stowe  belongs  to  one  of 
the  family  in  Simsburg,  Connecticut,  which  is  all  I  know 
of  this  work  in  Indianapolis.  I  left  the  country  a  few 
years  afterwards  [1849],  and  went  to  Europe,  where  I 
remained  ten  years,  and  then  came  home  and  established 
myself  in  New  York,  where  I  have  lived  ever  since. 

William  Miller,  a  misshapen  young  man,  a 
painter  of  miniatures,  was  in  Indianapolis  a  few 
years,  about  1846  to  1848.     He  had  American- 

64 


^ 


TEMPERANCE  JOHN  GIBSON  DUNN 

OWNED   BY    ART    ASSOCIATION    OF    INDIANAPOLIS 


EARLY  ARTISTS 

ized  his  name.  He  was  the  son  of  Gerhardt 
Mueller,  a  Munich  art  student  who  went  to  Cin- 
cinnati in  1840  with  Henry  Koempel,  the  two 
opening  a  studio  as  historical  painters.  Some  of 
their  work  is  still  in  existence  in  the  old  Catholic 
churches  of  Cincinnati.  Miller  was  still  in  the  em- 
bryonic state,  but  his  judgment  in  art  was  ex- 
cellent. He  was  also  a  delightful  musician.  He 
roomed  for  some  time  in  the  home  of  Jacob  Cox, 
who  encouraged  and  assisted  him  in  his  art  study. 
He  lived  with  Dr.  Mears  for  a  time  and  had  a 
studio  in  West  Washington  Street.  He  left 
at  the  same  time  that  Joseph  O.  Eaton  went  to 
Cincinnati,  but  returned  for  a  few  months  during 
several  years.  Later  he  went  to  New  York, 
where  he  became  one  of  the  best  known  painters 
of  miniatures  in  that  city. 

In  the  spring  of  1854  J.  T.  Palmatary,  whose 
fame  as  an  artist  rested  on  the  fact  that  he  had 
painted  a  picture  of  Washington  city,  came  to 
Indianapolis  and  secured  a  number  of  subscrip- 
tions for  engravings  of  a  similar  picture  of  our 
embryo  city.  The  Blind  Institute  was  the  ex- 
treme northern  border,  and  from  the  top  of  the 
building  he  painted  a  general  view  looking  south. 
A  border  was  composed  of  a  very  accurate  repre- 
sentation of  all  the  principal  buildings  in  the 
city,  and  the  Journal  says:  "A  handsomer  orna- 
.     65 


ART  AND  ARTISTS  OF  INDIANA 

ment  for  the  parlor  or  counting-house  could 
hardly  be  found."  ^ 

James  Boliver  Dunlap  was  perhaps  the  first 
commercial  artist  in  Indianapolis.  He  also  made 
original  cartoons,  many  of  them  representing  the 
local  loafers  on  the  street-corners,  which  appear- 
ed in  the  Locomotive  as  early  as  1851.  Jacob 
Dunn  has  helped  these  unusual  characters  to  live 
in  history  by  recalling  before  it  was  too  late  their 
native  characteristics: 

Bill  Warren  was  a  ne'er-do-well  character  who  had  his 
arms  blown  off  by  a  cannon  while  aiding  in  firing  a 
salute  to  the  military  company  that  was  about  to  depart 
for  the  Black  Hawk  War  in  1832.  This  was  the  only 
casualty  to  the  Indianapolis  forces  in  that  war;  and 
Warren  did  not  really  belong  to  them,  but  had  temporarily 
left  the  prosaic  job  of  digging  a  cellar  to  aid  in  the 
patriotic  demonstration.  Representative  George  L.  Kin- 
nard  succeeded,  however,  in  getting  a  pension  for  him, 
and  he  lived  on  as  a  veteran. 

Ralph  Fulk  was  a  local  scrapper  of  early  days,  who 
spent  most  of  his  spare  time  fighting,  and  according  to 
tradition  was  never  whipped.  Slim,  ungainly,  resenting 
anything  that  could  be  construed  into  an  affront,  he  was 
a  terror  to  the  country  for  miles  around.  Thomas  Chinn 
was  notable  as  the  first  man  who  brought  any  fine  breeds 
of  horses  and  cattle  to  the  region,  and  also  for  the  great 
wedding  he  gave  to  his  daughter  Patsy  in  1822,  when  the 
dancing  continued  for  two  days  and  nights. 

Dunlap  was  the  early  cartoonist  and  the  Loco- 
motive the  first  newspaper  to  use  cartoons  or  cuts 
in  any  capacity  in  the  capital  city.    He  also  in- 

*  Journal,  January  5,  1855.    There  is  a  copy  in  the  State  Library. 

66 


EARLY  ARTISTS 

serted  an  advertisement  as  a  designer  and  wood- 
engraver.  He  was  without  trainings  and  yet 
quite  versatile  in  his  art  expression.  He  also 
painted  portraits  and  landscapes,  and  gave  some 
time  to  the  plastic  arts.  Early  in  his  career  he 
went  west  in  search  of  health,  where  he  remained 
for  a  number  of  years,  and  continued  his  art 
work.^ 

The  San  Francisco  Pioneer  speaks  of  James 
B.  Dunlap's  studio  and  work  as  follows: 

You  move  up  two  flights  of  old  stairs,  with  as  many 
platforms  and  turnings,  and  with  a  pine  railing,  the  whole 
constructed  in  1850  we  suppose,  but  having  the  appear- 
ance of  being  seventy  years  old.  You  reach  the  upper 
story  of  the  house  and  enter  a  room.  It  is  Mr.  Dunlap's 
studio.  There  is  but  one  specimen  of  fine  arts  in  it; 
it  is  the  bust  of  the  old  pioneer.  Captain  Sutter,  wrought 
by  the  modest,  unassuming  young  man  who  stands  be- 
fore you.  The  bust  is  finished  and  a  perfect  likeness  of 
the  original.  .  .  .  The  beholder  cannot  fail  to  be  con- 
vinced that  the  artist,  young,  retiring,  and  as  yet  unknown, 
possesses  genius  of  rare  order.  ...  In  placing  the  veteran 
pioneer  of  California  before  us  Mr.  Dunlap  has  caught 
a  peculiar  carriage  of  the  head,  which  the  old  man  wears 
sometimes  and  which  expresses  his  character. 

The  bust  referred  to  was  that  of  John  Augus- 
tus Sutter,  made  in  California  during  the  gold 
fever.  Captain  Sutter  was  distinguished  by  the 
fact  that  it  was  on  his  extensive  lands  that  gold 
was  first  discovered  in  California.    This  bust  is  in 

*  His  landscapes  and  portraits  are  in  the  home  of  Anna  Dunlap 
on  North  Alabama  Street. 

67 


ART  AND  ARTISTS  OF  INDIANA 

the  State  Library,  and  is  the  best  of  Dunlap's 
work  extant.  It  was  originally  white;  but  in  a 
moment  when  cleanliness  was  uppermost  in  the 
mind  of  the  librarian  it  was  bronzed.  Dunlap 
also  made  busts  of  Lincoln  in  1860  during  the 
Lincoln-Hamlin  campaign. 

When  the  body  of  the  martyred  President 
Abraham  Lincoln  lay  in  state  in  the  Indiana  Cap- 
itol building,  in  April,  1865,  a  death-mask  was 
made  by  Louis  Henri  Reed.  He  was  a  nephew 
of  B.  K.  Foster,  who  was  at  that  time  State 
Librarian  and  custodian,  and  through  whom  the 
privilege  was  obtained.  From  this  death-mask 
was  made  a  medallion  in  bas-relief,  which  is  an 
excellent  likeness  of  the  great  President. 

In  an  article  written  in  the  spring  of  1867 
Laura  N.  Ream  said: 


Speaking  of  Governor  Whitcomb  reminds  me  a  long 
time  ago  there  was  an  artist  here,  I  think  his  name  was 
Brown,  who  painted  his  portrait  and  that  of  Bazil  Brown, 
Esq.  They  are  unquestionably  the  best  in  town.  I  was 
positively  startled  the  other  day  upon  entering  Mr.  N.  Pal- 
mer's house;  in  an  unexpected  corner  I  saw  Whitcomb's 
portrait;  it  was  like  meeting  his  living  self.  Does  any  one 
know  what  has  become  of  the  artist .f*  If  he  is  not  famous  it 
is  because  he  has  forsaken  his  calling.  This  brings  me 
very  naturally  to  the  subject  of  art  in  Indianapolis.  It  is 
a  common  thing  to  complain  of  the  poor  appreciation  of 
genius,  and  this  applies  with  peculiar  force  to  artists,  not  so 
much  from  a  want  of  appreciation,  in  fact,  as  from  want 
of  means  to  patronize  them. 

In  the  struggle  for  existence  in  the  early  history  of 
our  place,  the  appreciation  of  literary  talent  cost  little  or 

68 


I 


EARLY  ARTISTS 

nothing  and  could  therefore  be  indulged  in.  Books,  if 
scarce,  were  so  well  studied  that  the  deficiency  in  variety 
and  number  was  more  than  balanced.  As  for  great  speak- 
ers, they  were  always  appreciated.  When  Henry  Clay 
was  here,  men,  women,  and  children  came  from  a  distance, 
on  horseback  and  on  foot,  to  hear  him  speak.  When  did 
Henry  Ward  Beecher  ever  rise  in  the  pulpit  that  hundreds 
of  faces  were  not  upturned  with  curiosity  and  interest  ?  .   .  . 

Artists  starved  not  for  want  of  taste  but  for  want  of 
means.  Here  Whitridge  was  known  only  as  a  romantic 
guitar-player,  and  painted  family  portraits  for  his  board. 
Here  Eaton  labored  in  despair;  the  gifted  Millar  was 
poor  and  neglected.  They  went  forth  to  a  larger  field 
and  no  doubt  look  back  to  this  as  a  sort  of  debtors'  prison 
in  which  they  hungered  and  worked.  Many  of  their 
works  have  found  their  way  back  to  adorn  our  walls.  .    .    . 

Lastly,  there  was  our  townsman  James  Dunlap,  whose 
talent  was  so  versatile  that  he  could  have  become  renowned 
in  half  a  dozen  different  fields.  As  a  caricaturist  he  was  far 
ahead  of  McLenan;  his  busts  of  Lincoln  and  Sutter  are 
singularly  lifelike.  "The  Voyage  of  Life"  is  his  most 
beautiful  painting.  It  is  a  scene  viewed  in  pure  air  and 
sunshine,  when  every  leaf  and  sprig  stands  out  clear 
and  distinct,  and  one  feels  as  if  the  vision  extended 
beyond  the  hills  and  the  sky  into  the  furthermost  realms  of 
space.  Blessed  be  genius  that  lifts  us,  even  for  a  moment, 
above  the  cares  of  life. 

Thomas  B.  Glessing,  an  Englishman  born  in 
1817,  a  scenic  painter  of  some  renown,  came  to 
Indianapolis  in  1861,  and  remained  for  a  number 
of  years  as  the  principal  scenic  artist  in  the  old 
Metropolitan  Theater  (Park  Theater).  At  that 
early  day  each  theater  furnished  such  scenery  as 
the  traveling  companies  demanded.  About  this 
time  Sam  Gulick  had  begun  a  war  panorama, 
and  in  order  that  it  might  be  completed  by  a 
certain  date  Glessing  consented  to  paint  two 

69 


ART  AND  ARTISTS  OF  INDIANA 

scenes,  the  Battle  of  Mill  Springs  and  Paint 
Rock  Cove,  a  famous  cove  in  northern  Alabama, 
a  favorite  hiding-place  of  the  bush-whackers. 
This  panorama  was  presented  in  1863  to  create 
interest  when  a  few  more  recruits  were  needed. 

Glessing  was  a  man  of  poetic  fancy,  fertile 
brush,  and  considerable  talent,  who  won  many 
warm  friends,  among  them  Joseph  Jefferson, 
the  distinguished  actor-artist,  who  at  this  time 
was  at  the  height  of  his  career.  Glessing  pre- 
pared special  scenery  with  signaj  success  for 
Jefferson's  presentation  of  Rip  Van  Winkle  in 
the  Metropohtan  in  1869.  It  was  so  in  harmony 
with  his  interpretation  of  the  play  that  Jeffer- 
son shortly  after  the  engagement  presented 
Glessing  with  a  substantial  token  of  his  apprecia- 
tion and  friendship  in  the  form  of  a  sterling  silver 
service,  appropriately  inscribed.  The  friendship 
was  so  close  that  during  the  severe  illness  of 
Jefferson  in  1872  Glessing  received  daily  tele- 
grams of  his  condition. 

On  May  20,  1872,  there  was  shown  in  Lieber's 
gallery  a  painting,  said  to  be  of  rare  value,  by 
George  Armfield,  an  English  artist  of  some  note. 
This  was  also  the  gift  of  Jefferson  to  his  friend. 
At  the  same  time  Glessing  exhibited  two  paint- 
ings of  his  own  that  were  to  be  presented  to 
Robert  Lamb,  an  artist  of  New  York.     These 

70 


EARLY  ARTISTS 

pictures  were  requested  by  Lamb  as  a  compli- 
mentary recognition  of  Glessing's  ability. 

Glessing  lived  on  West  New  York  Street,  and 
his  home  was  not  only  in  excellent  taste  within, 
but  his  garden  was  filled  with  flowers.  He  was 
given  several  benefits  by  his  many  admirers,  ac- 
cording to  the  custom  of  the  day.  He  decorated 
the  interior  of  the  Odd  Fellows  Hall  in  1866, 
and  in  1873,  when  the  first  Indiana  Exposition 
was  held,  he  was  engaged  to  paint  a  number  of 
large  canvases  to  illustrate  the  city's  history.  His 
subjects  were  the  State  Seal,  which  presents  the 
advent  of  civilization;  the  selection  of  the  site 
of  the  city;  the  new  settlement  in  1821;  and  the 
city  in  war-time,  with  the  State  Capitol  as  the 
central  feature.  They  have  been  before  the  pub- 
lic so  many  times  that  they  have  become  a  part 
of  the  local  history,  whether  they  are  entirely 
accurate  or  not.  The  originals  are  still  preserved 
by  the  Indiana  Historical  Society.  Glessing 
painted  seven  semi-historical  allegorical  pictures 
for  a  small  celebration  that  was  known  as  the 
semi-centennial  and  was  held  on  June  7,  1870. 
These  were  later  purchased  by  the  local  Academy 
of  Music  and  placed  on  the  walls  of  the  entrance 
to  the  theater.  Glessing  left  here  to  accept  a 
position  as  scenic  painter  in  the  Boston  Museum 
in  1873,  an  acknowledgment  of  his  ability  as  a 
painter.     Several  of  his  pictures  were  shown  in 

71 


ART  AND  ARTISTS  OF  INDIANA 

the  retrospective  exhibition  of  Indiana  art  held 
at  Tomhnson  Hall  in  1903. 

In  February  of  1865  T.  Buchanan  Read,  the 
poet-artist,  spent  some  time  at  the  Bates  House 
in  Indianapolis,  having  been  commissioned  by 
the  City  Council  of  Cincinnati  to  paint  the  por- 
trait of  Indiana's  war  Governor,  Oliver  P.  Mor- 
ton. The  portrait  was  placed  at  Lieber  s  for  a 
few  days,  in  order  that  people  might  see  it  be- 
fore it  was  sent  to  Cincinnati,  where  it  was  placed 
in  the  city  Council  Chambers.  At  the  request 
of  many  prominent  citizens,  Mr.  Read  consented 
to  give,  on  the  evening  of  February  24,  a  public 
reading  of  his  poems.  A  large  audience  greeted 
him  and  showed  appreciation  of  his  character- 
istic note  of  delicate  coloring,  feeling,  and  re- 
finement of  perception. 

Barton  S.  Hays  came  to  Indiana  in  the  early 
fifties,  and  lived  for  some  time  in  the  northern 
part  of  the  State,  in  the  villages  of  Wingate, 
Covington,  and  Attica,  where  he  painted  por- 
traits of  the  pioneers.  He  was  an  ardent  aboli- 
tionist. As  soon  as  he  read  Harriet  Beecher 
Stowe's  "Uncle  Tom's  Cabin,"  he  immediately 
painted  a  panorama  representing  the  most  vivid 
scenes  of  the  story.  The  panorama  met  with 
such  success  that  the  author  was  encouraged  to 
paint  another,  both  of  which  proved  remunera- 
tive. 

72 


EARLY  ARTISTS 

In  1858  Hays  came  to  Indianapolis  and  for 
many  years  occupied  a  studio  in  the  same  build- 
ing with  Jacob  Cox.  He  formed  a  partnership 
with  a  photographer  under  the  firm  name  of 
Hays  &  Runnion.  He  continued  painting  por- 
traits, and  in  some  instances  painted  enlarged 
photographs.  For  several  years  he  had  charge 
of  the  class  in  painting  in  McLean's  Female 
Seminary.  In  the  summer  of  1866  Hays  spent 
several  weeks  in  southern  Ohio,  sketching  from 
nature.  Returning  he  presented  a  large  paint- 
ing to  help  furnish  the  new  home  that  had  been 
built  for  the  disabled  heroes  in  the  war  for  free- 
dom. 

In  1870  he  sent  thirty-two  of  his  pictures  to 
Cincinnati,  where  they  were  sold  at  auction, 
bringing  such  alluring  prices  that  he  too  was 
convinced  that  the  neighboring  city  was  the 
Western  art  center,  and  late  in  the  autumn  took 
his  family  there,  expecting  to  make  it  his  perma- 
nent residence.  They  remained  only  a  short 
time,  however,  and  then  returned  to  Indianapolis, 
where  Hays  continued  his  work,  painting  mostly 
portraits  for  which  he  received  seventy-five  dol- 
lars for  a  head  and  one  hundred  dollars  if  it  in- 
cluded the  hands.  His  commissions  were  suffi- 
cient to  support  his  family  of  six  in  comparative 
comfort.  Desiring  a  change  of  climate  for  his 
family,   he   moved   to    Minneapolis,    where   he 

73 


ART  AND  ARTISTS  OF  INDIANA 

opened  a  studio,  receiving  pupils  and  continu- 
ing his  portrait  and  landscape  work.  Later 
in  life  he  made  a  trip  to  California,  returning 
with  many  sketches  that  he  had  made  from  na- 
ture. 

He  painted  the  portrait  of  Governor  William 
Henry  Harrison  that  hangs  in  the  State  Library. 
William  M.  Chase  and  John  Love  were  his 
pupils  before  going  elsewhere  for  instruction. 
Among  other  pupils  were  Mary  Hill  Culbert- 
son  and  her  brother  John  B.  Hill.  Mrs.  Cul- 
bertson  became  a  local  teacher  of  art.  In  1890 
she  went  abroad  to  perfect  herself  in  art  and 
music;  upon  her  return  she  went  to  Chicago 
for  permanent  residence. 

John  B.  Hill,  aside  from  his  study  with  Hays, 
was  largely  self-taught.  He  was  always  handi- 
capped by  ill  health.  His  work  was  largely  por- 
traits, among  them  being  those  of  Governors 
Posey  and  Hammond  and  of  Dr.  Mears  and 
Dr.  Bobbs,  prominent  local  citizens. 

Elizabeth  Nicholson  was  for  many  years  asso- 
ciated with  the  art  interests  of  Indianapolisi, 
always  encouraging  and  teaching  as  opportunity 
afforded. 

She  was  born  in  Ohio,  and  was  graduated  ac 
the  Ohio  Female  College,  of  College  Hill,  Ohio, 
after  which  she  studied  art  in  the  McMicken 
School  of  Design  in  Cincinnati,  water-color  in 

74 


EARLY  ARTISTS 

Paris,  and  china-painting  under  Mr.  Griffith  of 
the  firm  of  Griffith  &  Howe,  early  manufacturers 
of  china  paints  in  Philadelphia.  She  gave  much 
attention  to  the  study  of  portraiture  and  was 
a  pupil  of  Thomas  Noble  and  Henry  Mosler.^ 
She  has  exhibited  both  landscapes  and  portraits. 

For  a  number  of  years  she  had  charge  of  the 
art  work  of  her  alma  mater,  and  later  of  the 
Kenwood  Seminary  of  Chicago,  besides  the  many 
private  pupils  she  has  taught  in  her  residence 
studio  in  Indianapolis.  She  was  one  of  the 
originators  of  the  Society  for  the  Study  of  Art, 
the  work  of  which  paved  the  way  for  a  more  ex- 
tensive organization  in  Indianapolis. 

An  interesting  story  is  that  of  the  painting 
of  Abraham  Lincoln  by  Charles  W.  Nickum, 
long  a  resident  of  Indianapolis.  He  was  born 
in  Dayton,  Ohio,  and  spent  his  youth  there. 
As  a  boy  he  was  continually  sketching  faces, 
accenting  the  strong  features  and  saying  this 
denoted  character  and  that  was  character,  until 
it  was  noted  among  the  older  men  that  he  was 
always  looking  for  "character." 

On  September  18,  1859,  he  was  painting  in 
Mr.  Edmonson's  studio,  which  adjoined  the  gal- 
lery of  a  Mr.  Cridland  on  Main  Street  in  Day- 
ton, when  Samuel  Craighead,  a  Cincinnati  at- 
torney, accompanied  by  a  friend,  came  to  the 

*  Henry  Mosler  painted  his  first  pictures  in  Richmond,  Ind. 

75 


ART  AND  ARTISTS  OF  INDIANA 

gallery  to  have  their  photogi-aphs  taken  ( for  this 
was  in  the  very  first  days  of  photography). 
Cridland  called  for  "Charlie"  to  come  see  this 
man,  who  was  character  all  over,  and  bring  his 
material  along,  and  promised  to  hold  the  man 
as  long  as  he  could,  so  Nickum  could  paint  his 
portrait.  Charlie  Nickum  worked  fast.  The 
man  soon  noticed  the  boy  and  his  earnestness, 
and  said,  "Keep  on,  my  lad;  you  may  make  a 
good  picture  but  never  a  pretty  one  of  me." 
With  two  sittings,  and  from  a  photograph  taken 
that  day,  Nickum  painted  the  picture  that  is 
"character  all  over." 

Two  years  later  Craighead  met  Nickum  on 
the  street,  and,  recognizing  him,  asked  if  he  had 
ever  finished  the  painting  of  his  friend.  The 
answer  was,  "Yes;  I  have  it  put  away  some- 
where." "Well,"  said  Craighead,  "that  is  the 
man  nominated  for  President  of  the  United 
States.  That  was  Abraham  Lincoln."  Craig- 
head offered  to  buy  the  picture  of  Lincoln  but 
Nickum  prized  it  more  than  ever  and  would 
not  part  with  it.  Afterward  he  had  many  chances 
to  sell  it,  but  its  possession  was  a  great  pleasure 
to  him  all  his  life. 

Nickum's  portrait  of  Lincoln  has  been  ex- 
hibited in  many  places  and  always  attracted  at- 
tention. It  was  painted  just  five  months  before 
the  famous   Cooper  Institute  photograph  was 

76 


PORTRAIT  OF  MRS.  HAYS 


BARTON  S.  HAYS 


OWNED   BY    MRS.    JULIA    WEST,    INDIAKAPOLIS 


EARLY  ARTISTS 

taken  which  is  supposed  to  be  the  most  perfect 
likeness  of  Lincoln,  and  resembles  it  very  much. 
It  is  painted  on  a  piece  of  pasteboard  which  in 
his  hurry  Nickum  carried  into  the  photograph 
gallery  that  eventful  day.  It  has  been  shown 
in  museums  in  many  parts  of  the  country,  and 
has  elicited  much  praise  from  art  critics. 

Charles  Nickum  studied  art  for  a  short  time 
in  a  class  that  Clara  Soule  instructed,  and  was 
later  in  Edmonson's  studio.  With  the  exception 
of  the  Lincoln  portrait,  he  never  exhibited  a 
picture,  and  he  never  sold  a  picture,  always  giv- 
ing them  to  his  friends.  He  painted  for  only 
a  few  years;  for  he  answered  the  call  of  Abra- 
ham Lincoln  for  volunteers,  and  after  the  war 
went  into  business,  and  found  no  time  again  to 
take  up  the  work  he  loved  so  well. 


77 


V.     JACOB   COX  AND  HIS  FRIENDS 

WHEN  our  thoughts  turn  to  Jacob  Cox  it 
is  in  memory  we  see  him  in  his  long  oc- 
cupied studio  on  the  third  floor  of  the  Talbott 
and  New  Block  in  North  Pennsylvania  Street, 
just  south  of  the  Fletcher  American  Bank.  Up 
two  long  flights  of  stairs  in  the  rear  of  the  build- 
ing, away  from  the  confusion  and  noises  of  the 
street,  he  worked  for  many  years.  The  east  win- 
dow opened  on  the  gradual  slope  of  a  gravel 
roof,  with  the  placid  face  of  the  court-house  clock 
not  far  away. 

The  studio  was  lighted  by  a  large  skylight 
window,  which  was  the  approved  method  of  his 
day.  The  walls  were  hung  with  his  pictures. 
Many  canvases  were  on  the  floor  or  leaning 
against  the  wall,  some  incomplete,  some  waiting 
inspiration.  Some  were  studies,  all  were  the  ac- 
cumulation of  a  long,  active,  and  interesting 
career.  The  central  figure  in  the  studio,  the 
figure  that  completes  the  scene,  showing  all  the 
courtly  graces  and  gentle  bearing  of  a  bygone 
age,  is  the  white-haired  man  who  dared  follow 
the  instinct  of  his  nature  and  become  an  artist 
when  Indiana  was  but  a  pioneer  State.  Jacob 
Cox  had  a  ruddy,  wholesome  face,  silvery  hair, 

78 


JACOB  COX 

a  soft  voice,  and  a  cordial  manner.  He  was 
never  too  busy  to  give  a  hearty  welcome  to  the 
many  visitors  who  frequented  his  studio. 

Jacob  Cox  was  born  in  the  city  of  Philadel- 
phia, November  9,  1810,  of  Quaker  parents,^ 
who  were  both  drowned  in  his  early  youth.  A 
grandmother  watched  over  the  family  for  a  short 
period,  and  at  her  death  the  children  went  to  live 
with  an  uncle  and  aunt  in  Washington,  Penn- 
sylvania, where  they  remained  until  the  sub- 
ject of  this  sketch  was  twenty  years  old,  when 
he  married  in  Pittsburgh.  Very  soon  he  and 
his  brother  Charles  decided  to  move  farther  west, 
and  took  a  boat  for  Cincinnati,  going  from 
there  by  wagon  over  the  new  and  muddy  roads, 
having  to  be  pried  out  now  and  then,  to  the  new 
capital,  Indianapolis.  They  arrived  in  the  year 
1833,  and  established  a  stove,  tinware,  and  cop- 
persmith business  which  met  with  success. 

Jacob  Cox  kept  at  the  work  manfully  for  a 
number  of  years,  but  always  with  the  irrepress- 
ible longing  for  the  pursuit  of  art.  He  found  the 
first  opportunity  to  give  expression  to  the  ar- 
tistic impulse  within  him  during  the  Harrison 
campaign  of  1840,  when  a  delegation  of  poli- 
ticians known  as  the  "Wild  Oats  of  Indianapolis" 
desired  a  banner.    He  painted  an  emblem  of  the 

*  There  is  a  portrait  of  the  father,  David  Cox,  by  Rembrandt 
Peale,  painted  in  1812  or  1814,  in  the  John  Herron  Art  Institute. 

79 


ART  AND  ARTISTS  OF  INDIANA 

times,  "that  same  old  coon,"  surrounded  by  her 
numerous  progeny.  ( This  instance  might  not  be 
considered  worth  mentioning  did  we  not  remem- 
ber that  Raphael's  first  work  was  a  banner.) 
Cox  painted  for  love  of  the  work,  and  the  banner 
was  carried  with  pride  at  the  head  of  the  pro- 
cession to  the  celebration  of  the  Tippecanoe 
battle-ground.  When  the  political  canvass  was 
over,  the  banner  was  presented  to  Mrs.  J.  H.  B. 
Nowland,  and  later  was  given  to  Mrs.  Samuel 
H.  Patterson,  of  Jeffersonville,  Indiana. 

In  the  next  two  years  Cox  devoted  some  time 
to  art,  even  attempting  portraits  of  Senator 
Oliver  H.  Smith,  Governor  Bigger,  Governor 
Wallace,  and  others.  They  proved  to  be  good 
likenesses  of  these  gentlemen,  and,  even  if  they 
were  not  entirely  what  they  should  be  as  por- 
traits, they  met  the  approval  of  the  pioneer 
citizens. 

In  1842,  at  the  age  of  thirty-two.  Cox  went 
to  Cincinnati  and  opened  a  studio  with  John 
Dunn,  son  of  a  former  State  Treasurer  of  In- 
diana, remaining  for  five  months,  securing  the 
patronage  and  high  regard  of  Miles  Greenwood,^ 
an  art  lover,  and  other  Cincinnati  men  whose 
interest  and  patronage  were  advantageous. 

After  his  return  home  he  continued  in  his  busi- 

*  Jacob  Cox  painted  a  portrait  of  Miles  Greenwood  during  this 
period. 

80 


PORTRAIT  OF  DR.  C.  G.  McLEAN  JACOB  COX,  1810-1892 

OWNED    BY    ART    ASSOCIATION    OF    INDIANAPOLIS 


JACOB  COX 

ness,  devoting  whatever  time  to  painting  occa- 
sion permitted.  In  January,  1844,  he  placed  his 
first  formal  notice  in  the  Indiana  State  Journal : 

JACOB  COX 
PORTRAIT  PAINTER 

Room  on  Washington  street,  opposite  Post  Office,  where 
all  are  invited  to  call  and  examine  his  specimens  of  art. 

This  was  in  the  first  building  west  of  Charles 
Mayer's  place  of  business. 

During  the  period  between  1846  and  1854 
there  existed  a  society  known  as  the  Cincinnati 
Art  Union,  to  which  Cox  contributed  one  or  two 
pictures  for  each  exhibition.  They  all  brought 
good  prices,  and  his  work  gradually  improved. 

The  Cincinnati  Art  Union  was  organized 
somewhat  on  the  plan  of  the  American  Art 
Union  of  New  York,  an  interesting  and  im- 
portant art  movement  in  the  earlier  part  of  the 
century,  since  it  became  the  model  of  many  such 
art  unions  throughout  the  country. 

The  American  Art  Union  was  organized  in 
New  York  City  in  1840  for  the  promotion  and 
distribution  of  the  fine  arts  in  the  United  States. 
In  1847  the  treasurer  reported  9,666  members. 
From  these  they  received  in  dues  about  $50,000, 
with  which  was  purchased  five  hundred  and 
seventy  works  of  art  consisting  of  paintings, 
statuary,  engravings,  and  medals.  These,  as 
was  the  custom,  were  raffled  once  a  year  at  the 

81 


ART  AND  ARTISTS  OF  INDIANA 

old  Tabernacle  Hall  in  New  York  City.  The 
business  of  the  institution  was  managed  by  a 
committee  of  twenty-one  members.  The  paintings 
were  purchased  in  Europe  and  from  important 
artists  in  this  country,  and  many  members 
drew  examples  of  Inness.  Among  the  ar- 
tists represented  are  the  names  of  J.  B.  Beard, 
A.  B.  Durand,  T.  Birch,  F.  E.  Church,  Albert 
Bierstadt,  F.  A.  Richardson,  S.  R.  Giiford,  and 
others.  Bierstadt  and  Church  received  prices  for 
their  pictures  that  seem  incredible  to-day.  The 
paintings  were  distributed  annually  by  lottery, 
without  discrimination  or  favor  to  the  many 
members,  who  were  scattered  throughout  (the 
country.  Every  member  of  the  association  not 
receiving  a  real  prize  was  given  an  engraving  or 
a  lithograph.  A  Gilbert  Stuart  medal  reached 
a  patron  in  Toledo  and  has  recently  been  placed 
in  the  local  museum. 

The  Cosmopolitan  Art  and  Literary  Associa- 
tion, with  offices  at  Sandusky,  was  organized  in 
February,  1854.  Before  the  end  of  the  year  it 
had  a  membership  of  21,576,  the  income  from 
subscribers  being  $64,718.  Extra  editions  of 
some  of  the  periodicals  had  to  be  printed  to 
supply  the  demand.  The  association  published 
two  hundred  thousand  copies  of  its  illustrated 
catalogue.  The  annual  drawing,  February  28, 
1855,  was  conducted  on  a  real  lottery  basis:  "The 

82 


JACOB  COX 

ballots  containing  the  numbers  representing  the 
names  of  the  members,  were  then  deposited  in 
one  wheel,  and  the  ballots  containing  the  names 
of  all  the  paintings,  statuary,  and  statuettes 
were  placed  in  the  other."  The  drawing  was  made 
under  the  immediate  supervision  of  inspectors 
and  each  ballot  recorded  by  the  secretary.^ 

In  1856  the  "IndianapoHs  Art  Society,"  fol- 
lowing the  plan  of  the  Cincinnati  Art  Union, 
was  organized  for  the  purpose  of  encouraging 
local  artists  and  cultivating  an  appreciation  for 
art  among  the  citizens.  Herman  Lieber  had 
recently  opened  his  art  store,  and  contributed 
largely  to  the  success  of  the  society.  No  men- 
tion is  made  of  a  drawing  until  the  evening  of 
February  1,  1860.    In  the  preceding  November 

^In  the  grand  distribution  the  following  Indiana  names  were 
mentioned : 

Statuette  of  the  "Shepherd  Boy,"  in  bronze,  by  Hiram  Powers, 
awarded  to  H.  A.  Fletcher,  Indianapolis. 

"Castle  of  Heidelberg  by  Moonlight,"  by  Mignat,  awarded  to 
S.  C.  Gulp,  Lafayette. 

"View  near  Edinburgh,  Scotland,"  by  Legrand,  awarded  to 
John  Chandler,  Evansville. 

"Game  and  Fruit,"  by  J.  R.  Meeker,  awarded  to  A.  G.  Carna- 
han,   Lafayette. 

"Joseph  and  Potiphar's  Wife,"  by  Poussin,  awarded  to  Mrs. 
W.   B.  Whiflfin,  Indianapolis. 

"The  Peasants'  Festival,"  by  Laurie,  awarded  to  William  J. 
Elliott,  Indianapolis. 

"The  Sisters — Aifective,"  by  Lawrie,  awarded  to  Mrs.  E.  J. 
Colerick,  Ft.  Wayne. 

"Winter  in  the  Catskills,"  by  Schmit,  awarded  to  Mrs.  E. 
Walker,  Evansville. 

"Undercliff  near  Gold  Spring,"  by  Frankenstein,  awarded  to 
Martin  Igoe,  Indianapolis. 

"Italian  Scene,"  after  Vernet,  by  Frankenstein,  awarded  to  John 
M.  Wallace,  Marion. 

83 


ART  AND  ARTISTS  OF  INDIANA 

a  collection  of  pictures  by  the  local  artists,  Jacob 
Cox,  Peter  Fishe  Reed  and  James  F.  Gookins, 
were  assembled  in  Lieber's  Art  Emporium, 
where  they  remained  on  exhibition  until  the 
drawing.  No  rents,  salaries,  or  expense  were 
attached  to  this,  except  the  advertisement  and  a 
small  per  cent  to  a  traveling  agent,  who  sold  the 
shares  in  this  and  neighboring  cities.  Some  took 
as  many  as  ten  or  twelve  shares  at  three  dollars 
each.  A  second  drawing  occurred  on  December 
28  of  the  same  year,  when  eight  hundred  tickets 
were  sold  and  seventy  or  eighty  pictures  were 
placed  in  homes. 

This  encouragement  gave  Jacob  Cox  a  firm 
purpose  and  a  high  ambition,  and  thereafter  he 
devoted  his  entire  time  to  the  study  of  art.  When 
Cox  first  began  painting  he  bought  the  raw  ma- 
terials at  a  druggist's  and  ground  his  own  colors 
on  a  marble  slab,  and  thought  they  were  the 
best  paints  with  which  he  ever  worked.  We  are 
reminded  of  the  early  art  spirit  and  experi- 
ments of  the  Renaissance,  when  every  man  who 
would  be  a  painter  must  grind  his  own  colors. 
Tube  paints  had  not  yet  been  brought  west  of 
the  Alleghanies,  and  grinding  the  colors  was 
preliminary  to  making  up  a  palette. 

Cox  worked  in  what  was  known  as  the  ideal 
method,  which  was  paramount  not  only  in  this 
country  but  in  Europe  at  that  time.     In  later 

84 


1^      < 


JACOB  COX 

years  he  said:  "Early  in  life  I  devoted  too  much 
time  to  the  expression  of  pure  idealism  in  my 
compositions."  He  had  a  wealth  of  artistic 
imagination;  he  confined  himself  to  no  one  field. 
He  painted  portraits  of  the  prominent  people 
of  the  day  in  public  and  private  life.  He  painted 
landscapes  in  which  he  was  fond  of  depicting 
animal  life;  the  tender  poetry  of  ideal  rural 
scenes ;  the  fortune-teller ;  the  market ;  the  flower- 
girls  ;  the  school-boys ;  homely  interiors ;  still  life 
and  historic  scenes — all  strong  in  composition. 
He  was  the  first  to  appreciate  and  paint  the  quiet 
scenes  about  Indianapolis  that  now  relate  its 
early  history.  He  inculcated  a  state  pride  in 
our  own  landscape.  He  loved  and  studied  na- 
ture, and  has  shown  us  that  our  own  skies  as 
well  as  those  of  Italy  contain  beauty ;  that  scenes 
close  about  us,  tender  with  recollection,  are  poet- 
ical and  colorful. 

The    Indianapolis    Journal   of    January    24, 
1857,  says: 

The  name  of  Jacob  Cox  became  a  household  word  in 
Indianapolis,  and  his  studio  was  visited  by  many  prominent 
citizens  of  whom  he  painted  many  portraits.  His  constant 
study  and  devotion  to  his  chosen  vocation  enabled  him 
to  improve  as  the  years  went  by.  He  found  a  ready  sale 
for  his  landscapes  and  the  sketches  of  his  fancy,  and 
painted  portraits  of  the  prominent  men  of  the  day. 

The  fall  and  winter  of  1860  he  spent  in  the 
East  and  in  New  York  City,  visiting  galleries 

85 


ART  AND  ARTISTS  OF  INDIANA 

and  studios,  and  studied  from  the  antique  in  the 
Academy  of  Design.^  Otherwise  he  was  self- 
taught,  always  a  student,  ever  endeavoring  to 
improve  his  own  work  by  studying  nature  and 
composition,  though  without  real  technical  train- 
ing. 

He  had  many  patrons  for  his  work.  He  prob- 
ably never  exhibited  outside  the  State,  except 
in  Cincinnati,  where  he  had  a  number  of  artist 
friends.  Many  of  his  portraits  and  landscapes 
were  to  be  found  in  New  York  homes,  where 
he  went  to  paint  several  times.  New  York  was 
not  an  art  center  at  that  time,  so  his  entire  life 
was  in  comparative  isolation;  yet  in  painting 
flesh  tones  he  aimed  for  the  same  thing  that  was 
worked  out  by  his  contemporaries  of  France, 
surrounded  by  their  environment  of  art. 

Henry  Ward  Beecher  was  a  very  warm  friend, 
and  owned  a  number  of  his  paintings  which  he 
valued.  It  is  told  that  at  one  time,  when  he  was 
going  abroad,  he  found  it  necessary  to  sell  a 
part  of  his  collection  of  pictures  to  realize  suffi- 
cient ready  cash,  but  he  would  not  part  with  any 
of  those  painted  by  Cox. 

The  Cox  studio  was  a  favorite  haunt  for  many 
years;  for  the  genial  old  man  was  fond  of  re- 
lating stories  of  his  long  professional  experi- 
ence and  his  acquaintance  with  men  who  after- 

*  From  a  letter  from  his  daughter,  Mrs.  Julia  C.  White. 

86 


JACOB  COX 

ward  became  famous.  He  was  always  generous 
and  helpful  to  young  men  and  encouraged  many 
who  later  had  opportunities  for  study  beyond 
anything  he  had  ever  dreamed. 

When  the  first  art  school  was  started  in  In- 
dianapolis, Jacob  Cox,  as  other  citizens,  con- 
tributed one  hundred  dollars,  which  entitled  him 
to  one  scholarship.  He  looked  the  field  over  and 
gave  the  scholarship  to  a  promising  Indianapolis 
youth.  Some  time  after  the  school  was  opened 
and  in  fine  working  order,  it  is  said  that  this 
youth,  forgetting  his  indebtedness  to  the  silver- 
haired  gentleman  who  had  made  it  possible  for 
him  to  gain  his  first  instruction  under  a  com- 
petent and  trained  teacher,  brought  several  fel- 
low-students up  to  Cox's  studio,  and,  without 
introducing  his  companions,  began  in  this  wise: 
"This  is  bum";  "This  is  bad"— until  he  unloaded 
himself  of  everything  he  could  in  condemnation 
of  Cox's  efiPorts.  Cox  said  he  felt  like  boot- 
ing him  out  of  his  studio,  but  he  remained  silent. 

Richard  B.  Gruelle,  who  was  fond  of  recall- 
ing incidents  of  the  early  days  in  art,  told  the 
following  story: 

One  day  Cox  received  a  letter  from  William  M.  Chase, 
saying  he  would  be  in  Indianapolis  at  a  certain  time  and 
wished  to  spend  the  day  with  his  old  friend.  On  the 
appointed  day  Chase  arrived,  and  after  their  greetings 
had  been  exchanged,  by  mutual  consent  they  decided  to 
dine  in  the  studio.     They  cleared  the  table  of  its  artistic 

87 


ART  AND  ARTISTS  OF  INDIANA 

debris  and  covered  the  dried  paint-daubs  with  a  white 
cloth.  Then  came  the  fun  of  foraging  for  their  own 
dinner  in  the  near-by  market.  The  table  was  loaded  with 
everything  in  season,  fruits  and  flowers.  The  door  was 
then  locked,  and  the  two — the  celebrated  William  M. 
Chase,  known  to  the  entire  world  of  art,  and  Jacob  Cox, 
who  aided  him  in  his  early  struggles  and  whom  Chase 
called  his  "father  in  art" — sat  in  camaraderie  and  listened 
to  the  stories  each  had  to  tell.  This  is  the  other  side  of 
art — the  side  in  which  the  human  heart  is  flowing  with 
warm,  sympathetic  blood.^ 

General  Lew  Wallace,  in  his  autobiography, 
pays  Cox  a  very  beautiful  compliment:  "A  tinner 
by  trade,  but,  having  the  divine  impulse,  broke 
away  from  his  shop  and  opened  a  studio.  Old 
age  and  death  found  him  at  last  a  pure,  sunny- 
souled  man  vis-a-vis  with  his  easel." 

He  labored  quietly  as  he  painted  through  the 
fifty  years,  and  as  time  advanced  there  was  an 
interest  and  fervor  in  age  that  seemed  to  be- 
long to  youth.  During  the  last  few  years  of 
his  life  he  worked  in  a  studio  erected  for  his 
use,  under  the  wide-spreading  branches  of  the 
forest  trees  in  the  spacious  garden  of  his 
daughter,  Mrs.  J.  G.  Whitcomb,  on  North  Penn- 
sylvania Street.  Thus  he  was  able  to  continue 
his  loved  work  to  the  very  end.  He  passed 
away  January  2,  1892,  at  the  age  of  eighty-one, 
after  a  very  short  illness  of  la  grippe. 

*Mrs.  White  has  a  letter  in  which  William  M.  Chase  says,  in 
referring  to  Jacob  Cox:  "Had  he  gone  abroad  he  would  have  been 
one  of  the  most  celebrated  artists  in  this  country." 

88 


JACOB  COX 

Among  his  pupils  was  Joseph  O.  Eaton,  who 
was  with  him  in  1846  and  1847.  One  morning 
early  in  1846  Eaton  sauntered  into  town.  He 
had  run  away  from  home  because  his  father 
wanted  him  to  stick  to  the  soil  and  he  wanted 
to  be  a  painter.  He  was  then  about  eighteen 
years  of  age.  He  had  on  an  old  coat,  much  too 
large  for  him,  and  was  generally  poorly  clad, 
and  there  was  a  furtive  look  in  his  eyes  that 
showed  he  was  on  the  lookout  for  pursuers. 
He  carried  with  him  two  pictures,  portraits,  one 
of  some  itinerant  Methodist  preacher,  the  other 
of  George  Washington.  The  latter  looked  like 
a  signboard  of  an  ancient  tavern,  and  there  is 
not  much  to  be  said  of  the  former. 

He  lived  with  Dr.  Abner  Pope,  of  whom  he 
painted  a  portrait  that  attracted  some  attention. 
His  earnestness  helped  him  to  get  work.  He 
painted  portraits  of  entire  families  at  five  dollars 
a  head.  Among  others  was  that  of  Governor 
Whitcomb,  which  was  afterward  in  the  posses- 
sion of  Judge  Biddle.  Henry  Ward  Beecher 
thought  the  youth  had  no  particular  talent  and 
would  be  no  credit  to  Cox,  who  was  so  earnestly 
assisting  him  in  his  work;  but  Eaton  had  a  will 
and  a  bluff  hearty  way,  and  no  obstacle  could  pre- 
vent him  from  going  onward  to  his  goal.  After 
studying  for  a  year  or  so  with  Jacob  Cox,  he 
went  to  Cincinnati  to  study  portrait-painting. 

89 


ART  AND  ARTISTS  OF  INDIANA 

He  married  a  wealthy  girl  and  removed  to  New 
York  City.  During  his  early  struggle  there  he 
wrote  frequently  to  his  former  preceptor ;  in  one 
letter  he  said :  "New  York  will  neither  acknowl- 
edge me  as  an  artist  or  a  gentleman;  but  they 
will  do  both  before  I  leave."  He  died  just  after 
the  Centennial,  in  1876,  and  was  at  the  time  con- 
sidered an  excellent  painter  of  women's  por- 
traits. He  sent  one  of  his  paintings^  to  his 
teacher  in  appreciation  of  the  early  interest  he 
extended  to  the  struggling  youth. 

Among  Cox's  pupils  were  Mrs.  Lottie  Guffin, 
who  painted  with  considerable  individuality,  and 
his  daughter,  Julia  Cox.^  Margaret  Rudisill 
first  studied  art  in  his  studio.  She  was  an  inde- 
pendent worker,  though  very  timid,  drawing  her 
easel  close  to  the  wall  so  that  no  one  could  see 
her  canvas.  She  only  wanted  the  master  to  show 
her  how  and  then  let  her  do  the  work.  She  re- 
calls how  Will  Chase,  who  was  working  in  an- 
other studio,  would  come  in  for  criticism,  and 
how  he  jokingly  would  wish  she  would  get  sick, 
so  he  could  get  ahead.  She  loved  nature  from 
her  earliest  youth,  and  it  has  been  her  endeavor 
through  her  long  years  of  study  to  reveal  in  her 
canvases  what  was  worth  conscientious  considera- 
tion. 

*  Now  in  the  possession  of  Mrs.  Julia  Cox  White  of  Cleveland. 
''Mrs.  A.  S.  White  of  Cleveland,  Ohio. 

90 


JACOB  COX 

Late  in  the  fifties  there  was  in  Indianapolis  a 
German  youth  about  nineteen  years  old,  working 
in  the  shop  of  John  B.  Osgood,  a  sign-painter. 
He  was  working  on  a  sign  he  had  designed,  which 
was  to  be  shown  at  the  State  Fair.  The  young 
painter  was  John  H.  Niemeyer.  He  later  studied 
in  Cox's  studio,  evincing  much  talent.  In 
November  of  1860  he  went  to  New  York  to 
study,  after  which  he  taught  in  a  private  school 
for  girls  in  New  Jersey  until  he  was  able  to  go 
to  Europe,  where  he  remained  for  four  years, 
studying  in  various  academies.  On  his  return 
he  was  recognized  as  a  coming  artist  and  was 
made  professor  of  the  School  of  Fine  Arts  at 
Yale  University  in  1871,  where  he  has  since  re- 
mained. In  1908  he  was  made  professor  emeri- 
tus. He  was  a  devoted  pupil,  who  through  many 
years  kept  up  a  correspondence  with  Cox,  al- 
ways addressing  him  as  "Dear  Jacob."  When  he 
went  to  New  York  he  expected  to  remain  three 
years,  but  he  never  returned  to  Indianapolis 
to  live. 

India  Underbill  Kirkland  was  a  pupil  of  Jacob 
Cox.  He  encouraged  her  to  turn  her  attention 
to  the  plastic  arts.  She  competed  for  the  Oliver 
P.  Morton  statue  in  1880,  and,  while  her  model 
was  considered  the  best  likeness,  the  commis- 
sion was  given  to  Franklin  Simmons,  and  the 
statue  stands  in  the  southeast  segment  of  the 

91 


ART  AND  ARTISTS  OF  INDIANA 

Circle.  Her  bust  of  Morton  was  exhibited  dur- 
ing the  retrospective  exhibit  in  1903. 

Panoramas  were  the  popular  picture  shows  of 
the  day,  having  gained  an  impetus  from  Ban- 
vard's  successful  experiment  in  Louisville.  The 
people  of  this  community  were  favored  with 
many  panoramas  by  Eastern  artists,  but  James 
F.  Harris,  a  young  student  of  Jacob  Cox,  paint- 
ed the  first  local  one.  It  was  called  "Mirror  of 
Intemperance"  and  contained  numerous  life-size 
figures.  The  scenes  numbered  about  thirty-five 
and  covered  some  ten  thousand  feet  of  canvas.^ 

Harris  spent  fully  six  months  on  the  work.  It 
was  first  exhibited  for  a  week,  beginning  Mon- 
day evening,  September  12,  1853,  to  an  audience 
(admission,  twenty-five  cents)  of  from  one  thou- 
sand to  fifteen  hundred  people.  After  being  pre- 
sented in  other  Indiana  towns,  it  was  brought 
back  to  Indianapolis,  where  it  proved  sufficiently 
popular  for  another  week's  run.  Harris  then 
sold  the  panorama  and  continued  his  art  work. 
The  success  of  his  efforts  in  this  line  caused  him 
to  undertake  another,  even  more  dramatic,  called 
"Evils  of  Intemperance,"  which  was  presented 
as  a  panorama.^ 

^  Daily  Journal,  April  3,  1853. 

'"Indianapolis  at  this  time  had  three  temperance  orders  and 
many  temperance  lectures.  The  temperance  panorama  was  so 
popular  that  it  was  taken  up  by  the  small  boys  of  the  day,  led 
by  the  Masters  Vance,  who  produced  a  temperance  panorama 
that  was  given  in  Temperance  Hall  on  the  evening  of  December 
13,  1853. 

92 


GOOSE  GIRL,  PICARDY,  FRANCE        MARGARET  RUDISILL 


JACOB  COX 

The  principal  editorial  in  the  Journal  of  Feb- 
ruary 19,  1853,  concerns  the  local  art  conditions: 

We  are  bound  in  some  sort  as  a  metropolis  of  the  State 
to  make  competent  provision  for  their  [the  public] 
entertainment  at  concerts,  operas,  galleries  of  paintings, 
lectures,  and  in  short  whatever  can  minister  to  a  refined 
and  intellectual  taste.  We  could  and  should  have,  too, 
an  Academy  of  Fine  Arts.  Mr.  Cox,  it  is  generally  con- 
ceded, is  one  of  the  very  best  artists,  both  in  portrait  and 
landscape,  known  in  the  West.  Elliott,  the  best  portrait- 
painter  of  Cincinnati,  when  a  ragged  boy  in  our  streets 
was  taken  in  and  received  instructions  from  Cox.  Mr.  Cox 
has  three  other  students  at  present,  one  of  whom  is  a 
young  gentleman  from  Madison.  Another  Indianian,  a 
young  Mr.  H.  [J.  F.  Harris],  has  in  progress  in  this  city 
a  temperance  panorama.^  But  we  commenced  this  article 
to  speak  of  an  accomplished  actor,  artist,  and  gentleman, 
who  is  now  personating  various  characters  at  Robinson's 
Atheneum,  Washington  Hall. 

The  article  referred  to  Henry  W.  Waugh, 
who  was  nephew  of  Waugh,  the  portrait-  painter 
of  Philadelphia,  who  also  painted  Waugh's 
"Panorama  of  Italy." 

Incited  by  the  success  of  the  "Mirror  of  Intem- 

*  "The  president  of  the  Association  of  the  World's  Fair  at  New 
York  in  1853  requested  the  Governors  of  the  various  States  to 
send  banners.  The  Indiana  banner  was  painted  by  James  F. 
Harris,  on  silk.  It  was  about  three  by  four  feet.  The  design  was 
the  'Coat  of  Arms  of  the  State,'  surrounded  by  a  wreath  with 
four  minor  cornier  pieces:  one  growing  corn;  an  agricultural 
scene  of  horses  attached  to  a  plow;  cattle  and  sheep  grazing; 
and  a  railway  train.  The  banner  was  designed  and  executed 
in  his  studio  in  the  north  end  of  the  Capitol  building,  where 
he  worked  on  his  temperance  panorama. 

"At  this  time  there  was  in  the  State  Library  a  large  picture 
called  'Rebecca  at  the  Well.'  The  figure  was  life-size.  There  is 
no  record  of  the  artist,  or  what  became  of  the  picture." — Daily 
Journal,  July  25,  1853. 

93 


ART  AND  ARTISTS  OF  INDIANA 

perance,'*  the  panorama  by  James  F.  Harris,  a 
temperance  panorama  was  undertaken  by  Jacob 
Cox,  who  was  assisted  by  Henry  Wau^h.  It  was 
known  as  Cox  and  Waugh's  panorama,  and  it 
comprised  fifty-four  scenes. 

The  daily  local  column  nearly  always  con- 
tained an  announcement  of  a  temperance  meet- 
ing or  lecture.  The  Journal  of  March  15,  1854, 
says  in  referring  to  the  temperance  panorama: 
"We  calculate  much  on  its  influence  for  a  Pro- 
hibition law" ;  which  shows  that  these  panoramas 
were  taken  seriously.  And  on  May  15,  1854: 
"This  is  a  great  town  for  panoramas,  not  only 
showing  them  but  making  them.  We  have  al- 
ready sent  out  two  or  three  and  there  are  still  a 
couple  behind." 

In  another  place  (May  24,  1854),  the  Journctl 
says:  "We  were  premature  in  our  announcement 
of  the  Cox  and  Waugh  panorama,  showing  the 
eagerness  with  which  this  panorama  of  temper- 
ance was  awaited. 

"A  mammoth  undertaking,"  says  the  Journal^ 
February  18,  1854.  "We  learn  that  Mr.  Henry 
Waugh,  the  talented  young  artist,  who  has  spf  nt 
considerable  time  in  our  City,  has  been  solicited 
to  paint  a  panorama  of  scenes  in  Egypt,  Pales- 
tine, Italy,  Greece  and  other  ancient  regions. 
Arrangements  were  made  for  a  friend  to  go 

94 


JACOB  COX 

abroad,  and  send  back  daguerreotypes  of  the  in- 
teresting scenery,  ruins,  etc.,  as  'copies  for  Mr. 
Waugh's  pencil.'  It  was  estimated  the  work 
would  occupy  three  years." 

"Cox  and  Waugh's  Panorama  was  first  pre- 
sented on  the  evening  of  May  30,  1854,  to  an 
overfull  house  (in  spite  of  the  rain)."  (This 
from  the  Louisville  Journal,  June  20,  1854.) 
"The  success  of  this  excellent  production  has 
been  even  greater  than  was  anticipated,  and  an- 
ticipations were  of  no  slight  magnitude.  It  is 
home-made  painting  of  home  scenes,  and  is  su- 
perbly executed.  Its  tone  is  subdued  and  its 
scenes  are  free  from  extravagance  that  make 
impure  taste.  It  will  bear  study,  and  the  more 
it  is  studied  the  more  its  excellence  appears. 
The  character  of  the  spectators  no  less  than  their 
numbers  attest  the  merit  of  the  panorama  and 
appreciation  of  the  artists.  It  was  afterward 
taken  to  many  larger  cities  in  the  State,  where 
it  was  given  before  interested  audiences.  This 
enormous  panorama  is  without  doubt  the  largest 
and  most  magnificent  one  we  have  ever  witnessed, 
and  is,  we  believe,  destined  to  begin  a  new  era 
in  the  history  of  panoramic  exhibitions." 

The  New  Albany,  Madison,  Cincinnati,  and 
Dayton  papers  also  spoke  of  the  panorama  in 
the  highest  terms.    After  being  shown  in  West- 

95 


ART  AND  ARTISTS  OF  INDIANA 

ern  cities  for  a  year  or  more  it  was  sold  and 
taken  to  the  East.^ 

Examples  of  the  work  of  young  Waugh  were 
exhibited  at  Jones'  Music  Store,  and  represented 
"some  of  the  beautiful  scenery  of  our  own  land, 
our  cities  and  American  forests,  most  artistically 
put  up  on  canvas  by  the  finished  hand  of  this 
young  artist."  ^ 

A  few  days  later,  February  21,  1853,  there 
was  a  great  musical  convention,  at  which  a  "prize 
banner"  was  presented  to  the  band  producing  the 
best  music.  "This  beautiful  specimen  of  art" 
was  the  work  of  Henry  W.  Waugh,  and  was 
"executed  on  fine  white  satin,  which  is  now  being 
edged  with  gold  lace  and  handsomely  trimmed. 
The  design  represents  Music  as  a  female  about 
to  be  crowned  with  laurels  by  two  cherubs. 
They  are  embossed  by  clouds  and  fleecy  vapors," 
with    the    motto,    "E    Ccelo    Venio""— '"From 

*The  Cox  panorama  was  painted  in  1853  and  1854,  during  the 
temperance  excitement  which  ran  high.  Panoramas,  being  some- 
thing of  a  novelty,  were  in  demand.  Cox  was  employed  by 
William  Robson,  banker,  William  Stewart,  then  clerk  of  the 
county,  Jacob  Walker,  and  Jacob  Vandegrift,  the  last  two  carpen- 
ters but  men  of  means,  to  paint  the  panorama  at  fifty  dollars  a 
scene.  The  total  amounted  to  fifteen  hundred  dollars.  The 
work  was  localized  by  a  picture  of  the  Governor's  mansion, 
which  was  in  the  center  of  the  Circle.  After  the  temperance  ex- 
citement abated,  the  panorama  was  sold  to  a  brother  of  Charlotte 
Cushman,  the  actress,  for  one  hundred  dollars. 

*On  March  4,  1853,  on  the  occasion  of  the  first  use  of  a 
new  drop  curtain  painted  by  Waugh,  the  painter-actor  was 
given  a  benefit  at  the  Atheneum,  in  which  his  special  "stunt"  was 
to  "paint  a  picture  on  the  stage  to  music  in  ten  minutes.  This 
feat  has  never  yet  been  performed  by  any  other  person." — 
Journal,  March  4,  1853. 

96 


JACOB  COX 

Heaven  I  Come."  It  was  presented  to  the  New 
Albany  (Indiana)  band,  which  played  *'John 
Anderson,  my  Jo,"  and  later,  in  a  contest  with 
the  Bloomington  band,  between  which  it  was 
difficult  to  decide,  played  a  selection  from  the 
opera  of  "Lucia  di  Lammermoor,"  with  some- 
what better  taste. 

Henry  Waugh,  a  universal  genius,  came  to 
Indianapolis  as  early  as  1853  as  a  scenic  painter, 
with  Yankee  Robinson,  when  about  nineteen 
years  old.  He  was  determined  to  be  a  painter. 
He  remained  here  a  few  years,  but  was  always 
talking  of  going  to  Europe  to  study.  In  order  to 
raise  the  necessary  funds,  he  joined  a  circus  and 
became  "Dilly  Fay,  the  parlor  clown."  He  saved 
three  thousand  dollars  by  wearing  the  motley, 
and  went  to  Italy.  Thomas  Buchanan  Read  met 
him  there,  and  pronounced  him  the  most  promis- 
ing artist  in  Rome,  with  a  bright  future  before 
him.  He  remained  in  Rome  for  six  years.  On 
his  way  home  he  stopped  in  England,  where  he 
took  a  very  severe  cold,  which  developed  into 
consumption  and  speedily  caused  his  death.^ 

This  series  of  panoramic  entertainments  con- 
tinued in  Indianapolis  through  many  years,  and 

*Waugh's  "Panorama  of  Italy"  was  exhibited  in  Indianapolis 
in  May,  1860,  "when  panoramic  paintings  generally  were  not 
popular,"  but  it  proved  very  successful  and  was  shown  to  an 
increasing  number  of  admirers." — Journal,  May  17,  1860. 

"A  work  which,  we  are  told  by  those  who  have  witnessed  it,  is  a 
perfect  mirror  of  the  lovely  scenes  and  important  views  of  that 
classic  land." 

97 


ART  AND  ARTISTS  OF  INDIANA 

culminated  in  the  erection  of  a  suitable  building 
on  West  Market  Street,  where  the  terminal  sta- 
tion now  stands,  in  which  was  placed  the  "Battle 
of  Gettysburg,"  which  was  visited  by  thousands 
of  people  as  late  as  1886— from  1847  to  1886, 
a  period  of  nearly  forty  years  from  panorama 
to  cyclorama,  and  then  came  the  moving-picture 
shows  to  absorb  the  public's  attention. 

The  earliest  creative  instinct  and  desire  of 
many  men  is  ofttimes  diverted.  Indiana  might 
have  counted  one  less  in  her  literati  and  added 
one  more  to  her  list  of  artists,  had  not  the  over- 
sight of  a  careful  father  turned  the  youthful  in- 
clinations of  Lew  Wallace  from  his  natural  tend- 
ency of  picture-making.  Since  his  earliest 
sketches  were  inspired  by  the  picture  quality  of 
the  red  men,  and  the  Black  Hawk  War,  they 
may  have  been  influenced  by  the  embryonic  war- 
rior within,  instead  of  by  the  spirit  of  art. 

His  own  story  follows:  "Ere  that  red-letter 
day  was  done,  I  made  two  discoveries  of  great 
interest.  The  first  one  was  that  I  could  draw  a 
portrait,  in  profile  or  full  face;  thereafter  I  was 
kept  busy.  My  small  mates  must  have  their 
pictures,  for  which  they  brought  me  white  paper 

Pictures  shown  with  various  effects  of  light,  sunset,  moonlight, 
twilight,  etc.,  also  the  lighting  of  shop  windows  and  homes,  on  the 
stage  were  called  chemical  dioramics,  of  which  the  Journal  says: 
"They  are  a  novelty  here  and  those  who  have  never  seen  them  can 
hardly  conceive  of  their  excellence  and  interest." — Journal,  August 
16,  1854. 

98 


JACOB  COX 

and  pencils  of  hammered  lead.  Unfortunately 
this  pursuit  in  rivalry  with  the  boy  di  Bondone 
(Giotto) — of  course  I  knew  nothing  of  him  then 
— was  so  fascinating  that  it  occupied  me,  and  I 
grew  indifferent  alike  to  the  main  object  of  my 
attendance  at  school  and  the  bundle  of  rods  on 
the  wall."  His  interest  in  this  pastime  soon  grew 
into  a  passion. 

In  1837  his  father,  David  Wallace,  was 
elected  Governor  of  the  State  and  changed  his 
residence  from  Brookville  to  Indianapolis,  tak- 
ing his  family  with  him.  They  were  regular  at- 
tendants at  the  Sunday  morning  service  of  the 
Christian  Church.  The  young  boy  relieved  the 
long  tedium  of  the  services  by  making  pencil 
drawings  on  the  flat  top  of  his  black  oilcloth  cap. 
These  were  invisible  except  when  held  in  a  cer- 
tain light  at  a  particular  angle.  "The  preacher, 
his  assistant,  the  characters  of  the  congregation, 
and  all  who  had  a  peculiarity  of  face  or  manner 
were  penciled  with  unmistakable  likeness."  ^ 

Jacob  Cox  was  painting  Governor  Wallace's 
portrait  when  young  Wallace  made  his  acquaint- 
ance. He  won  his  friendship  and  became  his 
color-grinder.  He  reveled  in  the  rich  colors  as 
he  ground  them,  and  in  imagination  painted 
many  pictures.  At  last  the  longing  was  too  great 
and  he  yielded  to  temptation.    He  converted  a 

*Lew  Wallace,  **An  Autobiography." 

99 


ART  AND  ARTISTS  OF  INDIANA 

clean  piece  of  tin  into  a  palette,  which  he  loaded 
with  dabs  of  the  much  coveted  paint  and  hastened 
to  the  garret  of  his  home,  where  he  found  him- 
self in  need  of  canvas  and  brushes.  Without 
knowing  of  the  ingenuity  of  the  boyish  Benjamin 
West,  he  too  made  brushes  from  the  only  avail- 
able source:  instead  of  utilizing  the  friendly 
house  cat,  he  plucked  hairs  from  the  tail  of  his 
faithful  dog  and  tied  them  to  a  stick.  His  oil 
was  castor  oil  stolen  from  the  sick-room  of  the 
servant  girl,  and  his  canvas  a  board  made  from 
an  old  box.  His  rude  sketch  was  of  Black  Hawk, 
thp  old  chief  with  one  eye,  taken  from  an  illus- 
tration in  a  book  on  Indians.  Several  days  were 
given  to  the  picture,  working  as  rapidly  as  he 
could,  when  finally  his  colors  dried  on  the  tin 
palette  and  his  painting  was  of  necessity  prema- 
turely ended. 

By  very  special  request  young  Wallace's  work 
was  brought  down  for  family  inspection  and  he 
was  asked  to  produce  his  studio  outfit,  over  which 
his  father  laughed  long  and  heartily;  then  came 
the  parental  counsel.  Calling  the  boy  into  his 
study  one  day,  the  father  said:  "You  must  give 
up  drawing.  I  will  not  have  it.  If  you  are 
thinking  of  being  an  artist,  listen  to  me.  In  our 
country  art  is  to  have  its  day,  and  the  day  may 
not  come  in  your  time.  There  is  no  demand  for 
pictures.    Rich  men  are  too  few  and  the  poor 

100 


JACOB  COX 

cannot  afford  to  indulge  a  taste  of  that  kind.  To 
give  yourself  up  to  the  pursuit  means  starvation. 
Do  you  understand  me?"  Says  Wallace:  "I 
made  a  feeble  attempt  at  argument:  *But  Mr. 
Cox — '  *0h,  yes,'  he  replied ;  *Mr.  Cox  is  a  good 
man,  but  he  has  a  trade  to  fall  back  upon,  a  shop 
to  help  him  make  the  ends  meet.'  Seeing  the  im- 
pression he  was  making,  he  went  on:  'I  suppose 
you  don't  want  to  be  a  poor  artist — poor  in  the 
sense  of  inability,  as  well  as  poverty.  To  be  a 
great  painter  two  things  have  always  been  neces- 
sary, a  people  of  cultivated  taste  and  then  educa- 
tion for  the  man  himself.    You  have  neither.'  " 

The  talk  was  not  entirely  appreciated  by  the 
son,  who  continued  making  his  simple  sketches 
until  one  day,  in  the  absence  of  his  schoolmaster, 
he  drew  a  rabbit  on  the  blackboard,  substituting 
the  master's  head.  Before  he  had  time  to  erase 
it  he  was  caught  and  severely  punished.  With 
heroic  effort  he  "resolved  to  give  up  the  dream," 
which  left  him  disconsolate. 

In  the  fullness  of  his  years  he  writes: 

At  this  day  even  I  cannot  look  at  a  great  picture  with- 
out envying  its  creator — the  delight  he  must  have  had  while 
it  was  in  evolution.  And  why  not  make  the  confession 
unreservedly?  Why  not  admit  that  in  biographical  litera- 
ture there  are  no  lives  so  fascinating  and  zestful  to  me  as 
those  of  master-artists?  While  reading  them  I  am  always 
hard  put  to  smother  an  impulse  to  renew  my  youth,  in  so 
far  at  least  as  the  purest  and  sweetest  of  its  inclinations 

101 


ART  AND  ARTISTS  OF  INDIANA 

are  concerned.  The  age  is  propitious ;  there  are  patrons  in 
plenty;  schools  abound;  the  great  galleries  of  Europe  are 
scarce  a  week  away;  taste  prevails  and  invention  survives 
despite  photography. 

Major  General  Lew  Wallace,  U.  S.  A.,  was 
one  of  the  nine  officers  detailed  as  members  of 
the  court  martial  of  those  implicated  in  the  as- 
sassination of  President  Lincoln.  During  the 
progress  of  the  trial  the  proceedings  were  often 
tedious  and  unimportant.  General  Wallace 
"employed  himself  sketching  in  pencil  the  mem- 
bers of  the  commission,  the  distinguished  spec- 
tators that  thronged  the  court  and  even  the  pris- 
oners themselves.  Drawings  made  of  the  latter 
were  utilized  in  a  picture  which  for  many  years 
hung  in  his  study  in  Crawfordsville.  Mrs.  Sur- 
ratt  does  not  appear  in  the  group.  General  Wal- 
lace gave  as  a  reason  for  this  that  he  never  saw 
her  face  but  once  during  the  trial.  She  came 
into  the  court  always  wearing  a  heavy  veil,  which 
she  raised  but  once  for  identification."^ 

In  one  of  the  earliest  exhibits  held  in  Indian- 
apolis in  1878,  under  the  auspices  of  the  Indiana 
School  of  Art,  was  one  of  General  Wallace's 
canvases,  representing  what  was  catalogued  as 
"The  Dead  Line  at  Anderson ville" — a  soldier 
writhing  in  death,  having  been  shot  by  a  guard 
at  that  prison  pen. 

*  Lew  Wallace,  "An  Autobiography." 

102 


JACOB  COX 

Indiana  was  not  lacking  in  early  critics  or 
artists  with  advanced  ideas.  General  Wallace 
was  a  "futurist"  in  the  truest  sense,  when  he 
caught  a  vision  of  a  purple- winged  cup  id,  ^  which 
he  painted  and  exhibited  and  which  aroused  the 
severest  criticism  of  the  one  man  who  posed  as 
an  art  critic  in  Indianapolis  at  that  early  day — 
Alois  E.  Sinks,  who  wrote  better  than  he  painted. 
The  idea  of  a  cupid  with  purple  wings!  It  was 
so  preposterous,  so  utterly  repugnant  to  any 
artistic  or  classical  conception  of  the  god  of  love 
that  words  could  hardly  do  justice  to  the  incon- 
gruity. Wallace  replied  mildly,  regretting  that 
he  had  not  had  the  advantage  of  Mr.  Sink's 
knowledge,  and  explaining  that  he  had  been 
misled  by  Milton's  lines :  ^ 

Here  Love  his  golden  shafts  employs,  here  lights 
His  constant  lamp,  and  waves  his  purple  wings. 
Reigns  here  and  revels. 

During  the  seventies  Alois  E.  Sinks  was  in 
the  city,  pursuing  his  profession  as  an  artist  and 
connected  with  the  daily  and  weekly  press,  espe- 
cially as  a  critic  in  matters  of  art,  literature, 
and  drama.  He  was  a  man  of  some  literary  at- 
tainment as  poet  and  art  critic.  A  number  of  his 
idealistic  paintings  were  for  a  time  in  the  en- 
trance of  the  Grand  Opera  House. 

*  Owned  by  Mrs.  W.  A.  Hughes,  of  Indianapolis. 

*  "Paradise  Lost,"  Book  4,  1.  764. 

103 


ART  AND  ARTISTS  OF  INDIANA 

Later  there  came  a  discriminating  judge  in 
Peter  Fishe  Reed,  poet,  painter,  and  art  critic. 
He  was  born  in  Boston,  Massachusetts,  May  5, 
1817.  He  came  to  Indiana  and  located  in  old 
Vernon  about  1850.  His  art  criticisms  are  to  be 
found  in  Cincinnati  journals  as  early  as  1850. 
He  made  numerous  visits  back  to  New  England, 
but  maintained  a  permanent  residence  in  the 
West  until  his  death  at  a  ripe  old  age  at  the  home 
of  his  son  in  Burlington,  Iowa. 

In  October  of  1852  Peter  Fishe  Reed,  while 
touring  the  State,  stopped  for  a  few  days  at 
Indianapolis,  made  the  acquaintance  of  Jacob 
Cox,  and  in  a  letter  to  the  Cincinnati  Nonpareil 
spoke  of  him  in  the  following  high  terms  of 
praise : 

I  was  really  astonished  to  see  such  worthy  artistic  pic- 
tures from  a  pencil  that  works  in  obscurity.  I  have  never 
seen  an  article  of  praise  or  criticism  in  regard  to  Mr.  Cox, 
and  I  wondered  when  I  gazed  upon  the  fine  paintings 
that  graced  his  studio  that  he  did  not  go  to  Cincinnati  and 
be  "puffed."  His  last  original  production,  called  the 
"Mountain  Lake,"  is  a  fine  painting  and  shows  the  artist  to 
be  a  genius  and  one  of  the  first  of  Western  artists;  his 
subject  is  always  pleasing  and  agreeable  and  handled  with 
care  and  taste.  You  may  be  glad  to  know  he  has  resigned 
his  tin  pans  and  sheet-iron  for  sheets  of  canvas,  and  cold 
chisels  for  warm  pencils.  He  has  left  the  tinning  business 
and  devotes  his  powers  entirely  to  the  art.  This  will 
afford  him  more  comfort  but  less  tin. 

After  quoting  the  above,  the  Journal  ( October 
16,  1852)  adds:  "This  is  true  enough  and  a  just 

104 


JACOB  COX 

tribute  to  worth  and  genius.  .  .  .  The  paintings 
from  his  pencil  will  better  speak  their  author's 
praise  than  any  word  from  us." 

In  1860  Reed  came  to  Indianapolis  to  live  and 
opened  a  studio  in  Ray's  Building,  where  he  had 
classes  in  drawing,  which  he  maintained  until  he 
was  asked  to  accept  the  chair  of  English,  and 
to  teach  painting  and  drawing  in  White  Water 
College  at  Centerville,  Indiana,  He  left  in  Sep- 
tember, 1861,  to  accept  his  new  position.  The 
Indiana  School  Journal  says:  "P.  Fishe  Reed, 
the  painter  and  poet,  is  author  of  various  essays 
on  English  composition,  which  have  attracted  the 
attention  of  the  most  eminent  critics  and  the 
literati  generally.  His  analytic  mind  and  ex- 
tensive reading  enable  him  to  comprehend  and 
explain  both  the  mechanical  and  spiritual  phases 
of  our  language." 

The  following  is  quoted  from  his  address  on 
art,  which  was  delivered  at  the  opening  of  the 
fall  session  of  the  college  in  1861.  In  speaking 
of  one  being  able  to  sketch  from  nature,  Reed 
said: 

It  is  certainly  a  source  of  much  pleasure  and  gratification 
to  possess  views  of  lovely  spots  of  earth  that  may  chance 
to  fall  in  our  pathway;  and  to  those  who  study  these  prin- 
ciples of  beauty  in  which  all  nature  seems  to  float,  and 
who  can  behold  the  creations  creep  from  beneath  their 
pencil,  there  is  a  charm  more  than  words  can  express; 
for  if  a  student  of  nature  look  out  upon  the  landscape,  his 

105 


ART  AND  ARTISTS  OF  INDIANA 

eye  is  greeted  by  a  thousand  beauties  that  are  never 
dreamed  of  by  another.  The  eye  seems  instinctively  to  fall 
upon  all  the  cozy  nooks  of  beauty. 

The  sparkling  tide  of  sunshine,  the  deep  transparent 
shadow,  the  cool  and  inviting  half-tints  that  separate  the 
two,  and  the  gentle  gradations  of  perspective,  till  the  en- 
chantment of  the  distance  has  melted  the  very  mountains 
into  the  soft  blue  sky.  He  dwells  in  a  new  world  of 
feeling  in  which  his  soul  revels,  and  where,  amid  groves  and 
vineyards  and  fountains  of  water,  where  the  sun  never  goes 
down  on  its  loveliness,  he  may  gather  fruits  upon  the 
confines  of  this  realm  of  glory  and  bask  enchanted  in 
the  beamy  sunshine  of  beauty.  What  to  an  uncultivated 
eye  is  merely  a  green  tree  or  a  forest  is  to  a  student  of 
art  a  volume  of  nature,  and  each  leaf  a  page  of  her 
hidden  mysteries,  unfolding  to  his  sense  a  thousand  forms 
and  shapes  and  tints. 


Later  Reed  went  to  Chicago  to  live  and  de- 
vote his  entire  time  to  his  art.  He  gained  con- 
siderable reputation  and  was  called  "the  father 
of  art"  in  Chicago.  He  painted  a  large  canvas, 
"The  Assassination  of  President  Lincoln,"  for 
which  he  was  offered  $10,000,  but  it  was  lost  in 
the  Chicago  fire  along  with  everything  else  he 
owned.  He  came  back  to  visit  in  May  of  1864, 
when  he  presented  Jacob  Cox  with  a  beautiful 
landscape,  the  work  of  a  former  summer,  which 
he  spent  sketching  in  Vermont.  Several  of  his 
literary  works  also  found  publishers  about  this 
time. 

In  the  summer  of  1866  Reed  went  to  Vermont, 
where  he  had  scarcely  begun  his  vacation  studies 
when  he  was  accidentally  shot  below  the  knee. 

106 


JACOB  COX 

For  nearly  three  months  he  was  unable  to  go 
out  to  sketch.  He  was  accompanied  by  his  son, 
who  cared  for  him  during  this  period.  He  took 
advantage  of  this  interval  of  forced  quiet  to  com- 
plete some  literary  work  he  had  in  contemplation. 
He  returned  to  the  West  with  many  sketches 
made  from  his  Vermont  windows.  Nature  was 
not  to  be  resisted,  as  the  rich  autumn  coloring 
came  over  the  immense  stretch  of  country  with 
the  Adirondacks  in  the  far  distance.  He  painted 
not  only  the  immediate  foreground  but  the  moun- 
tains in  the  distance  on  days  when  every  tree 
and  rock  showed  sharp  and  clear  in  the  long 
stretch  of  miles.  His  Green  Mountain  pictures 
often  brought  him  three  hundred  dollars  apiece. 

In  1866  George  Lowe  bought  three  of  his 
paintings,  "Scene  upon  the  Susquehanna," 
"White  Mountain  View,"  and  "Rural  Scenery," 
which  were  exhibited  among  others  in  the  Lieber 
gallery  for  a  short  time.  Reed,  like  the  other 
artists  of  the  day,  painted  the  idealistic  pictures 
then  so  much  in  vogue.  Among  his  best  works  of 
this  class  were  "The  Emigrant's  Dream"  and 
"The  Uncertain  Ford,"  which  found  ready  pur- 
chasers. 

The  painting  of  idealistic  pictures  was  not 
confined  to  artists  painting  in  Indiana,  but  was 
a  part  of  a  period  which  swept  this  country  and 
which  still  remains  unnamed — unless  it  might  be 

107 


ART  AND  ARTISTS  OF  INDIANA 

a  part  of  the  "Victorian  period,"  when  black- 
walnut  furniture  dominated  all  else,  with  its  fan- 
tastic curves  and  eccentric  carving.  The  same 
period  gave  us  marble-top  tables,  wall  brackets, 
and  a  profusion  of  useless  bric-a-brac,  the  un- 
necessary though  much  decorated  undecorative 
vases,  a  long  catalogue  of  hand-painted  objects 
that  it  is  hard  to  forget,  sentimental  belongings 
ranging  all  the  way  from  mantel  lambrequins 
and  crocheted  tidies  to  dried  grass  and  cat-tails, 
which  were  put  in  every  conceivable  place  about 
the  house,  collecting  and  harboring  dust  but 
which  no  one  was  willing  for  many  years  to  elimi- 
nate from  the  decorative  scheme.  Indianapolis 
awakened  as  quickly  as  other  places  to  the  esthetic 
ideal,  and  with  a  full  realization  and  apprecia- 
tion overcame  all  obstacles  and  in  due  time 
reached  the  fundamental  principles  of  art  and 
good  taste.  Reed  was  a  prolific  writer,  but  only 
three  of  his  books  were  published :  "Voices  of  the 
Wind"  (Poems) ,  "Beyond  the  Snow,"  a  story  of 
the  North  Pole,  and  "Reed's  Drawing  Lessons." 
In  a  small  town  in  the  eastern  part  of  the 
State  the  substantial  brick  houses  were  built 
flush  with  the  street  in  an  old-world  fashion.  The 
street  was  overgrown  with  grass  that  came  up 
to  the  front  doors  and  was  kept  short  by  the 
cows  that  grazed  unmolested.  A  crooked  path 
formed  a  sidewalk  under  luxuriant  shade-trees; 

108 


JACOB  COX 

a  wavering  road,  which  avoided  the  wet-weather 
mud-holes,  kept  pretty  well  in  the  middle  of  the 
street,  and  one  caught  glimpses  of  rampant  flow- 
ering shrubs  through  high  picket  fences.  This 
was  the  quaint  little  village  of  Dublin,  Indiana, 
less  than  half  a  century  ago,  before  the  moderniz- 
ing influences  of  electric  lights,  interurban  cars, 
and  cement  sidewalks  made  their  invasion. 

Here,  in  1840,  James  M.  Dennis  was  born 
and  lived  during  his  youth.  At  the  age  of  eigh- 
teen he  went  to  Cincinnati  to  study  art,  and  there 
met  Alexander  Wyant.  They  were  about  the 
same  age  and  interested  in  the  same  work,  so 
they  took  a  studio  together  and  tried  landscape- 
painting  in  great  earnest.  Dennis  also  studied 
portrait-painting  under  Joseph  Orville  Eaton, 
who  was  then  living  in  Cincinnati.  He  loved  the 
landscape  work,  but  he  was  unable  to  make  ex- 
penses. 

The  intimate  friendship  between  Dennis  and 
Alexander  Wyant  was  terminated  for  a  time  by 
the  departure  of  the  latter  for  Europe,  where  at 
Diisseldorf  he  worked  in  that  great  school  of 
landscape.  He  took  high  prizes,  then  returned 
to  New  York,  where  he  became  famous  and  for 
a  time  the  leader  of  American  landscape-painters. 

In  1865  James  Dennis  came  to  Indianapolis 
and  cast  his  lot  with  Jacob  Cox  and  B.  S.  Hays. 
In  1873  he  went  to  New  York  to  study,  and 

109 


ART  AND  ARTISTS  OF  INDIANA 

renewed  his  acquaintance  with  Wyant  and 
Eaton,  both  of  whom  had  become  famous.  At 
this  time  Eaton  was  one  of  the  foremost  por- 
trait-painters of  this  country,  and  always  a  friend 
to  the  struggling  young  artist.  He  allowed 
Dennis  great  privileges  in  his  studios,  rich  with 
fine  studies  he  had  made  in  London  and  Paris 
from  the  masters  of  the  world.  His  advice  on 
different  points  holds  good  to-day. 

After  several  years  in  New  York  Dennis  spent 
some  time  in  the  South,  where  he  painted  por- 
traits of  prominent  men  of  the  period,  among 
them  the  portrait  of  Jefferson  Davis,  which  he 
painted  from  life.  This  hangs  in  the  Capitol  at 
Nashville,  Tennessee.  In  Savannah,  Georgia,  he 
painted  a  full-length  of  Captain  John  Wheaton, 
also  portraits  of  Joseph  E.  Johnston  and  Robert 
E.  Lee. 

Later  he  returned  and  took  up  his  work  and 
residence  in  Indianapolis  as  a  professional  artist, 
living  here  about  twenty  years.  During  that 
period  he  painted  portraits  and  landscapes,  many 
of  which  are  to  be  found  in  Indiana  homes. 
Among  the  portraits  that  occupy  prominent 
places,  which  he  painted  at  that  time,  are  those 
of  John  C.  New,  for  the  Treasury  Building  at 
Washington,  D.  C,  and  Governor  James  A. 
Mount,  in  the  Capitol,  Indianapolis. 

110 


JACOB  COX 

From  the  beginning  Dennis  attempted  to  paint 
everything  he  saw  any  one  else  paint,  which  made 
him  very  versatile;  but  of  late  years  he  has 
studied  nature  closely,  remembering  the  last  ad- 
vice of  his  friend  and  teacher  Alexander  Wyant, 
who,  when  they  renewed  their  friendship  in  later 
years,  said:  "Jim,  go  paint  from  nature;  you 
can  never  be  original  or  great  in  any  other  way." 
Now  he  is  sticking  to  nature,  not  bound  to  any 
other  school  or  master.  _ 

In  1883  Dennis  removed  with  his  family  to  De- 
troit, Michigan,  where  he  continued  to  work, 
varying  both  his  medium  and  his  subjects.  In 
1900  he  took  up  pastel-painting  as  a  medium  for 
outdoor  work  to  hasten  his  sketches,  because  the 
colors  were  always  ready.  It  gradually  got 
the.  better  of  oil  in  his  estimation,  and  he  used 
it  in  the  studio.  After  considerable  experience 
he  felt  satisfied  that  its  utility  warranted  him  in 
making  a  specialty  of  pastel,  so  he  has  adopted 
it  almost  entirely  in  place  of  oils. 

He  has  a  summer  home  at  Gros  He,  where  his 
large  studio  built  over  the  boat-house  has  an  out- 
look over  the  Detroit  River,  and  a  view  of  the  city 
in  perspective.  Here  he  spends  many  hours 
watching  the  varying  changes,  from  the  gray 
lights  of  early  morning  through  the  sunshine  and 
shadows  of  the  day,  until  the  golden  glory  of 

111 


ART  AND  ARTISTS  OF  INDIANA 

the  sunset  clothes  the  wide  river  in  an  eternal 
beauty.  From  the  earliest  spring  until  severe 
weather  drives  him  back  to  the  city,  he  studies 
nature  in  an  intimate  way,  making  many  jour- 
neys to  the  same  scene  until  his  work  reaches 
his  highest  ideal. 


112 


AN  INTERIOR  FIRST  SALON  PICTURE  JOHN  LOVE 

OWNED    BY    WILLIAM    FORSYTH,    INDIANAPOLIS 


VI.     JOHN  LOVE  AND  THE  FIRST 
INDIANA  SCHOOL  OF  ART 

JOHN  W.  LOVE  came  to  Indianapolis  with 
his  parents  when  he  was  but  ten  years  of 
age,  and  after  studying  in  the  public  schools  en- 
tered the  Northwestern  Christian  University.  On 
leaving  college  he  determined  to  become  an  artist, 
and  entered  the  studio  of  B.  S.  Hays,  where  he 
remained  but  a  short  time,  being  dissatisfied  with 
the  artist's  method.  At  the  age  of  nineteen  he 
went  to  Cincinnati  to  study  with  Henry  Mosler. 
There  he  practically  began  his  work.  After  one 
year  he  went  to  New  York  and  entered  the 
School  of  the  Academy  of  Design,  where  he 
spent  the  second  year,  after  which  he  came  home 
for  a  brief  visit,  and  on  May  31,  1872,  returned 
to  New  York  and  sailed  on  the  Cunard  steamer 
Batavia  for  England.  He  soon  went  to  Paris 
and  was  the  first  Indiana  man  to  enter  the  Ecole 
des  Beaux- Arts  and  the  Atelier  Gerome  where 
he  studied  for  the  better  part  of  four  years. 
Among  his  close  friends  and  associates  were  Will 
H.  Low,  Ridgeway  Knight,  Henry  Bacon, 
Wyatt  Eaton,  Robert  A.  M.  Stevenson,  and 
Dewey  Bates. 

Will  Low  writes  of  him: 
113 


ART  AND  ARTISTS  OF  INDIANA 

Many  a  helpful  word  came  at  these  times,  criticisms 
and  suggestions,  as  various  as  the  nationalities  represented, 
and  the  cheerful  witticism  was  by  no  means  debarred; 
indeed,  one  such  word  I  remember,  as  applied  to  a  semi- 
decorative  attempt  of  my  own,  where  my  love  for  the 
primitive  masters  of  the  Louvre  had  inspired  me. 

One  of  our  number  was  a  young  Indianian,  John  Love 
by  name.  Love  is  one  of  those  whose  early  death  makes 
these  recollections  read  like  a  mortuary  record;  but  I  can 
see  him  now,  lank  of  limb  and  fair  of  features,  with 
kindly  eyes,  as  he  surveyed  my  performance  and  with 
a  native  drawl  said:  "If  I  were  you,  I'd  change  my  style 
or  learn  how  to  draw."  I'm  glad  to  say  my  sense  of 
humor  was  sufficient  to  permit  me  to  translate  into  our 
common  tongue  of  communication  this  discomfiting  ap- 
preciation and  join  in  the  laugh  it  excited  by  its  aptness. 

Love  acquired  that  wonderful  mastery  of  draw- 
ing and  technique  which  always  characterized 
his  work.  He  spent  some  time  on  the  coast  of 
Brittany  at  Pont-Aven.  He  loved  the  great 
woods  of  Fontainebleau.  Many  of  his  sketches 
from  these  places  were  shown  in  the  annual  ex- 
hibition of  paintings  in  the  Palais  de  L' Industrie 
in  1874*  and  1875.  His  work  was  remarkable 
for  its  strength  and  correctness  of  drawing,  but 
his  color  sense  was  not  so  great ;  it  was  the  period 
prior  to  the  revolution  in  color  that  was  soon  to 
follow. 

After  six  years'  study  away  from  home,  John 
Love  returned  to  Indianapolis  in  1876,  still  a 
young  man  filled  with  enthusiasm  and  a  spirit 
to  better  art  conditions  in  Indiana.  He  was  a 
natural  draftsman,  ever  ready  to  continue  his 

114 


FIRST  INDIANA  SCHOOL  OF  ART 

study  in  drawing.  He  not  only  knew  how  to 
draw  but  had  the  happy  faculty  of  imparting 
this  knowledge  to  others. 

The  career  of  James  F.  Gookins  as  an  artist 
had  its  original  inspiration  in  an  event  that  be- 
longs to  the  history  of  literary  affairs  in  Terre 
Haute,  his  birthplace.  In  1860  a  group  of  young 
men  formed  a  debating  and  literary  society.  They 
invited  Bayard  Taylor  to  lecture  before  them 
in  the  high  school  building.  The  famous  lec- 
turer arrived  at  the  little  station  in  the  midst 
of  a  storm.  He  was  met  by  a  young  man  and 
introduced  to  two  others  equally  boyish,  who  con- 
stituted the  reception  committee.  Taylor  was  a 
little  dubious  about  the  outlook,  but  the  spokes- 
man took  him  in  a  carriage  to  the  home  of  his 
father.  Judge  S.  B.  Gookins.  Taylor  thought 
it  was  useless  to  lecture;  but  the  conmiittee  in- 
sisted, and  as  they  drove  to  the  schoolhouse  the 
street  was  seen  to  be  full  of  umbrellas  moving  in 
the  same  direction.  The  house  was  packed.  The 
acquaintance  formed  between  Bayard  Taylor 
and  James  Gookins  led  the  latter  to  go  to  Europe 
to  begin  his  career  as  an  artist. 

After  finishing  his  education  at  Wabash  Col- 
lege Gookins  came  to  Indianapolis  in  1860;  in 
June  of  1865  he  made  a  cartoon  sketch  in  water- 
colors  of  Jefferson  Davis,  with  a  gallows  in 
the  background  from  which  hung  a  hoop-skirt. 

115 


ART  AND  ARTISTS  OF  INDIANA 

In  the  fall  of  the  same  year  he  went  to  Chicago, 
where  he  exhibited  with  the  artists  who  opened 
with  a  "new  art  gallery  in  the  Opera-House." 
In  March,  1867,  he  was  elected  treasurer  of  the 
Chicago  Art  Association.  He  remained  there 
until  1869,  when  he  began  arrangements  for  a 
trip  abroad.  He  married  Miss  Cora  Donnelly, 
of  Terre  Haute,  June  19,  1870,  and  went  imme- 
diately to  Europe,  where  he  studied  art  for  sev- 
eral years.  The  first  work  he  did  was  to  furnish 
European  war  sketches  to  Harper's  Weekly, 
He  studied  at  the  Royal  Academy  of  Munich 
under  Carl  Piloty,  who  at  that  time  was  painting 
"Thusnelda  in  the  Triumph  of  Germanicus.'* 
Among  the  women  seated  about  Tiberius  was 
Mr.  Gookins'  wife,  who  posed  for  Piloty  for 
the  picture.  After  several  years'  study  they  re- 
turned to  America,  coming  to  Indianapolis  to 
live. 

It  is  natural  that  James  F.  Gookins  and  John 
W.  Love,  each  of  whom  had  been  trained  in 
the  recognized  art  centers  of  the  world,  should 
have  obtained  ideals  and  inspiration  that  they 
felt  could  be  achieved  in  the  West.  To  them  we 
owe  much;  for  it  was  to  their  vision,  their  op- 
timism, and  their  energy  that  we  are  indebted 
for  the  first  Indiana  School  of  Art,  which  was 
opened  on  October  15,  1877.  Originally  it 
had  been  the  intention  of  its  founders  to  have  a 

116 


HEAD  OF  A  BOY 


JOHN  LOVE 


OWNED  BY  ART  ASSOCIATION   OF  INDIANAPOLIS 


FIRST  INDIANA  SCHOOL  OF  ART 

stock  company  backing,  with  a  capital  of  from 
five  to  ten  thousand  dollars.  Many  lovers  of  art 
in  Indianapolis  had  signified  their  willingness  to 
assist  in  the  undertaking.  After  receiving  satis- 
factory assurances  of  such  support,  Gookins  and 
Love,  both  having  but  recently  returned  from 
their  art  study  in  Europe,  determined  to  open 
the  school  at  their  own  expense,  relying  upon 
the  public  for  such  measure  of  appreciation 
and  patronage  as  the  ends  sought  by  them  and 
the  results  produced  by  their  labor  might  seem 
to  warrant. 

The  school  was  opened  on  the  upper  floor  of 
what  is  now  known  as  the  Sacks  Building,  at  the 
southwest  corner  of  Washington  and  Pennsyl- 
vania Streets,  which  was  at  that  time  the  best 
office  building  in  the  city.  The  school  occupied 
eleven  large  rooms  on  the  third  floor.  They  were 
filled  with  interesting  casts,  valuable  paintings 
and  sketches  signed  by  such  artists  as  Chase, 
Will  Low,  Duveneck,  J.  Alden  Weir,  Church, 
Bierstadt,  Wyatt  Eaton,  Mosler,  Girardet, 
Dainou,  Decamp,  and  others.  At  the  top  of  the 
second  flight  of  stairs  stood  a  heroic  statue  of  the 
Venus  de  Milo,  as  though  inviting  one  to  antici- 
pate the  artistic  atmosphere  that  was  being 
created  in  the  adjoining  rooms  by  the  interested 
and  efficient  corps  of  teachers  and  the  student 

117 


ART  AND  ARTISTS  OF  INDIANA 

body  of  young  men  and  women  eager  to  take 
advantage  of  the  new  opportunity. 

The  instructors  included  the  following  teach- 
ers: 

J.  F.  Gookins,  Director,  teacher  of  painting. 

John  W.  Love,  Assistant  Director,  teacher  of 
drawing. 

Ferdinand  Mersmann,  sculpture  and  wood- 
carving. 

John  W.  Warder,  M.  E.,  mechanical  drawing. 

H.  C.  Chandler,  instructor  in  wood-engraving. 

A  full  course  of  instruction  was  given  in  free- 
hand drawing,  machine  and  architectural  draw- 
ing, perspective,  artistic  anatomy,  sculpture,  fig- 
ure, landscape,  and  decorative  painting  in  oil 
and  water-colors.  Engraving,  lithography, 
ceramic  painting,  wood-carving,  and  industrial 
arts  in  all  branches  were  also  taught. 

There  was  a  fine  collection  of  antique  casts, 
and  life  models  were  furnished  for  the  advanced 
classes.  Every  effort  was  made  to  give  the  most 
thorough  and  practical  knowledge  of  the  prin- 
ciples and  methods  of  art  work.  As  soon  as  stu- 
dents were  prepared  to  take  up  other  work,  it 
was  the  intention  of  the  directors  to  see  that 
proper  facilities  were  at  hand. 

Pupils  of  the  school  included  William  Forsyth, 
F.  H.  Hetherington,  Charles  Fiscus,  Charles 
Nicoli,  Hjalmar  Forsland,  W.  O.  Bates,  Miss 

118 


FIRST  INDIANA  SCHOOL  OF  ART 

E.  L.  Boardman,  Mrs.  Addison  Bybee,  Annie 
Yandes,  Daisy  Burgess,  Ida  M.  Murphy,  M. 
Mitgarden,  Margaret  Logsdon,  Sue  Ketcham, 
Janie  Ketcham,  Carrie  Graves,  Annie  Butler, 
William  Ebert,  Miss  M.  M.  Pope,  Ada  Comin- 
gore,  Carrie  Wolff,  L.  A.  Kiefer,  Miss  L.  David- 
son, Virginia  Johnson,  Julia  Sharpe,  Hautie 
Tarkington. 

It  was  the  purpose  of  the  school  to  hold  quar- 
terly exhibitions  of  the  students'  work  and,  when 
it  was  possible,  a  more  extensive  exhibit  includ- 
ing the  work  of  foreign  and  Eastern  artists.  Two 
public  exhibitions,  each  for  a  period  of  three 
weeks,  had  been  held  since  the  opening  of  the 
school,  A  larger  exhibition  was  undertaken  and 
encouraged  by  art-loving  citizens  and  local  ar- 
tists. A  quiet  canvas  was  made,  and  the  neces- 
sary funds  for  incidental  expenses  were  provided 
to  assure  the  ultimate  success  of  the  undertaking. 
Local  artists  as  well  as  artists  from  the  East 
lent  their  work,  and  the  exhibition  was  opened 
on  Tuesday  evening.  May  7, 1878,  and  continued 
for  three  weeks.  Among  the  local  artists  ex- 
hibiting are  found  the  names  of  Jacob  Cox,  T. 
C.  Steele,  General  Lew  Wallace,  A.  E.  Sinks, 
Mrs.  Lottie  GufRn,  J.  M.  Dennis,  Mrs.  Mary 
H.  Culbertson,  William  Forsyth,  F.  M.  Hether- 
ington,  Elizabeth  Nicholson  and  Calvin  I. 
Fletcher,  besides  the  work  of  Love  and  Gookins. 

119 


ART  AND  ARTISTS  OF  INDIANA 

In  all  there  were  more  than  two  hundred  can- 
vases. There  was  also  an  exhibition  of  sculpture, 
pottery,  ceramics,  and  porcelain,  which  served  to 
illustrate  the  plastic  arts. 

At  this  time  was  formed  an  Indiana  Art  Asso- 
ciation, the  greater  number  of  the  members  be- 
ing residents  of  Indianapolis ;  but  Terre  Haute, 
Lafayette,  and  Louisville,  Kentucky,  were  rep- 
resented. The  object  of  the  association  was  to 
assist  the  art  school  in  its  exhibits,  which  would 
afford  the  citizens  an  opportunity  to  see  and 
study  the  work  of  the  various  artists  that  might 
be  exhibited  from  time  to  time,  as  well  as  con- 
tribute to  the  success  of  the  school  by  affording 
superior  facilities  to  the  pupils  for  examination 
and  comparison.  During  this  exhibition  there 
was  a  distribution  of  some  sketches  from  nature 
by  John  W.  Love  and  James  F.  Gookins  to 
the  members  of  the  Art  Association. 

The  first  of  the  year  the  directors  of  the 
school  had  offered  prizes  as  follows:  "If  a  class 
of  not  less  than  fifteen  members  could  be  found 
to  enter  into  competition  for  a  term  of  one  year, 
at  the  usual  rates  of  tuition,  the  member  making 
the  greatest  progress  in  that  year  should  be 
awarded  the  first  prize,  and  should  receive  a 
transferable  letter  of  credit  of  five  hundred  dol- 
lars, with  letters  favorably  introducing  him  or 
her  to  professors  of  advanced  classes  of  several 

120 


FIRST  INDIANA  SCHOOL  OF  ART 

of  the  leading  academies  and  art  institutions  of 
Europe."  Other  prizes  of  a  gold  medal  and  a 
diploma  of  the  school,  a  copy  of  Canova's  work, 
were  also  offered  to  scholars  making  the  great- 
est advance. 

The  business  world  called  to  Gookins,  and  he 
was  diverted  from  his  early  intentions  and  with- 
drew from  the  Indiana  School  of  Art  after  a 
period  of  very  short  duration.  His  talents  were 
varied.  He  was  an  artist  by  nature  and  train- 
ing; he  had  traveled  and  studied  to  equip  him- 
self thoroughly  for  his  life-work.  His  art  work 
has  been  called  "comedies  in  paint  of  fairies  and 
flowers,  lovely  creatures  which  won  him  success 
at  the  start,  and  with  a  landscape  gift  in  addi- 
tion of  no  mean  order.  .  .  .  He  was  an  artist 
in  temperament." 

In  1880  Gookins  opened  a  studio  in  Terre 
Haute,  where  Charles  Fiscus  went  to  study  for 
a  short  time.  Gookins  made  two  trips  to  the 
far  West  with  Walter  Shirlaw,  painting  much  of 
the  mountainous  scenery.  He  always  found  a 
ready  sale  for  his  pictures.  His  "Long's  Peak" 
and  "Estes  Park"  were  purchased  by  J.  W. 
Cruft,  of  Terre  Haute.  A  Cincinnati  banker 
gave  three  hundred  and  eighty  dollars  for  his 
painting  called  "The  Felderstha."  In  1883  he 
was  appointed  assistant  commissioner  to  the 
Vienna  Exposition  and  wrote  the  art  report  for 

121 


ART  AND  ARTISTS  OF  INDIANA 

the  commission.  In  1887  he  was  made  secre- 
tary of  the  Soldiers  and  Sailors'  Monument  Com- 
mission of  Indiana,  and  rendered  important  serv- 
ice in  shaping  the  policy  of  the  commission  in 
the  erection  of  that  notable  monument,  though 
he  resigned  as  a  member  of  the  commission  after 
a  few  months.  For  some  time  Gookins  was  one 
of  the  directors  of  the  Academy  of  Design,  dur- 
ing which  time  Vanderpoel  was  a  student  in  the 
schools.  This  was  the  Art  Institute  of  Chicago 
in  embryo. 

Mr.  Love  continued  the  work  as  Director  of 
the  Art  School  through  another  year,  giving  his 
highest  thought  and  best  effort  to  make  it  a  suc- 
cess. It  was  not  because  of  lack  of  competency 
on  his  part  that  the  school  did  not  flourish  and 
that  it  became  necessary  to  close  the  doors  in 
1879.  The  Indiana  public  was  not  ready  to  en- 
courage and  support  the  advanced  undertaking, 
and  collapse  came  all  too  soon.  It  is  doubtful 
whether  at  that  time  there  was  any  more  promis- 
ing or  worthy  art  school  in  this  country  outside 
of  New  York  City,  and  if  it  had  continued  to 
the  present  time,  the  first  Indiana  School  of  Art 
would  hold  a  place  among  the  best. 

Love  was  the  first  to  give  a  right  impulse  to 
art  in  the  state.  The  fruit  of  his  labor  and  the 
value  of  his  teaching  have  been  apparent  ever 
since,  and  his  name  will  ever  remain  a  promi- 

122 


FIRST  INDIANA  SCHOOL  OF  ART 

nent  factor  in  our  early  art  history;  for  many 
owe  to  him  the  inspiration  that  caused  them  to 
acquire  that  knowledge  which  is  of  inestimable 
value  to  the  artist — skill  in  drawing.  Before 
Love's  time,  if  any  one  in  Indiana  desired  to  be 
an  artist,  he  attempted  to  paint  immediately, 
drawing  being  a  secondary  consideration. 

A  year  later,  June  24,  1880,  John  W.  Love 
died.  A  young  man  of  rare  gifts  and  great 
promise,  he  had  only  begun  his  life.  He  was 
a  man  who  won  many  intimate  friends,  among 
whom  was  James  Whitcomb  Riley,  who  wrote 
an  "In  Memoriam" : 

JOHN  W.  LOVE 

The  skies  have  grown  troubled  and  dreary; 
The  clouds  gather  fold  upon  fold; 
And  the  hand  of  the  painter  is  weary. 
And  the  pencil  has  dropped  from  its  hold. 
The  easel  still  leans  in  the  grasses, 
And  the  palette  beside  on  the  lawn ; 
But  the  rain  o'er  the  sketch  as  it  passes 
Weeps  low — for  the  artist  is  gone. 

The  flowers  whose  fairy-like  features 
Smiled  up  in  his  own  as  he  wrought 
And  the  leaves  and  the  ferns  were  his  teachers. 
And  the  tints  of  the  sun  what  they  taught; 
The  low-swinging  vines  and  the  mosses. 
The  shadow-filled  boughs  of  the  trees. 
And  the  blossomy  spray  as  it  tosses 
The  song  of  the  bird  to  the  breeze. 

The  silent  white  laugh  of  the   lily 
He  learned;  and  the  smile  of  the  rose 
Glowed  back  on  his  spirit  until  he 

123 


ART  AND  ARTISTS  OF  INDIANA 

Had  mastered  the  blush  as  it  glows; 
And  his  pencil  has  touched  and  caressed  them 
And  kissed  them,  through  breaths  of  perfume. 
To  the  canvas  that  yet  shall  have  blessed  them 
With  years  of  unwithering  bloom. 

Then  come,  leave  his  palette  and  brushes 
And   easel   there,   just  as   his   hand 
Has  left  them,  ere  down  the  dark  hushes 
Of  death,  to  the  shadowy  land. 
He  wended  his  way,  happy-hearted 
As  when,  in  his  youth,  his  wrapt  eyes 
Swept  the  pathway  of  Fame  where  it  started. 
To  where  it  wound  into  the  skies. 

The  Portfolio  Club  held  an  informal  exhibit 
of  the  pictures  and  sketches  by  John  W.  Love  in 
November  of  1894,  and  again  a  number  of  his 
canvases  were  shown  in  the  retrospective  exhibit 
of  Indiana  painters  in  Tomlinson  Hall  in  1903. 

Charles  Fiscus  was  among  the  most  talented 
pupils  of  this  early  school.  He  was  marked 
"first"  by  the  master  more  often  than  not  and  is 
still  remembered  by  his  fellow-students  as  having 
unusual  ability.  After  the  close  of  the  art  school 
he  worked  as  best  he  could  making  crayon  por- 
traits and  selling  a  sketch  now  and  then.  He 
lived  to  be  only  twenty-three,  and  his  work  is 
merely  an  earnest  of  his  aptitude  for  the  pursuit 
he  loved. ^ 

Frank  Edwin  Scott,  who  lived  in  Indianapolis 
in  his  youth,  has  been  a  resident  of  France  for 
many  years,  living  in  Greville,  the  birthplace  of 

*  Fiscus    painted    a   portrait   of   John    Stem,    an   Indianapolis 
architect. 

124 


GIRL  AT  SPINNING  WHEEL  FRANK  EDWIN  SCOTT 

OWXED  BY  CARL  H.   LIEBER,  IXDIANAFOLIS 


FIRST  INDIANA  SCHOOL  OF  ART 

Jean  Francois  Millet.  He  owns  and  resides  in 
the  house  in  which  the  painter  was  born.  He 
signs  himself  "Edwin  Scott,"  and  for  many  years 
has  been  a  painter  of  France,  better  still  of 
Paris ;  for,  while  much  of  his  time  is  spent  in  his 
rural  home,  a  retreat  from  the^ world,  most  of  his 
work  has  some  aspect  of  Paris  for  a  motive.  The 
following  tribute  to  Mr.  Love  is  from  a  letter 
written  by  Scott  at  Greville  par  Beaumont-la- 
Hague  Manche,  France: 

I  always  consider  that  Mr.  John  Love  gave  me  my 
first  start  in  art,  though  I  really  did  not  study  in  his 
classes.  Mr.  Love  had  had  classic  training  in  Paris  and 
had  most  excellent  ideas.  Of  course,  until  I  knew  him, 
I  had  no  notion  of  how  to  go  at  a  drawing.  In  my  talk 
with  him  I  felt  the  truth  of  what  he  said  about  art. 
In  fact,  he  put  me  on  the  right  road;  I  saw  what  to  work 
for.  Thus  I  knew,  even  before  I  had  studied  in  any 
art  school,  just  what  would  be  necessary  for  me  to  strive 
for  in  my  work.  Mr.  Love  made  me  know  that  I  was 
to  look  for  construction  by  big,  simple,  straight  lines, 
and  broad  masses  of  light  and  shade,  and  to  let  detail  alone. 

One  of  his  ideas  was  that  the  shadow  is  all-important, 
and  that  by  drawing  the  shapes  of  the  shadows  in  a  head 
one  was  getting  at  the  same  time  the  shape  of  the  light: 
not  to  draw  the  salient  form  but  only  the  shadow  thrown  by 
that  form.  I  got  from  him  splendid  ideas  about  sim- 
plicity which  were  very  valuable  to  me  ever  after  and 
gave  me  great  advantage  over  many  other  students  later 
on  at  the  Art  Students'  League  in  New  York,  and  also 
in  the  National  School  of  Fine  Arts  in  Paris.  In  fact, 
by  getting  the  right  start  there  was  nothing  to  unlearn 
afterward. 

Mr.  Love  used  to  speak  of  the  great  French  artists,  and 
thus  I  became  familiar  with  many  of  the  names  of  the 
painters  of  Paris  even  if  I  did  not  know  their  work:  for 
instance^  Gerome,  the  famous  painter  and  teacher  in  the 

125 


ART  AND  ARTISTS  OF  INDIANA 

Paris  Academy;  also  Cabanel — both  of  whom  I  should 
meet  later  in  life.  I  learned  also  about  the  greatest  of  all 
French  painters,  Jean  Fran9ois  Millet.  I  learned  about 
his  life  and  just  how  he  looked.  I  could  see  him  about  in 
Barbizon  or  in  the  forest  of  Fontainebleau,  wearing  his 
heavy  peasant's  clothes  and  wooden  shoes.  The  name 
and  works  of  Corot  became  familiar  to  me  also  and  once 
Mr.  Love  showed  me  an  etching  made  by  Corot  on  which 
I  looked  with  awe  and  astonishment;  although  it  appeared 
to  me  only  a  lot  of  scratchy  lines  at  first,  still  I  knew  it 
must  be  very  great  and  wonderful.  I  could  not  appreciate 
it,  but  I  then  resolved  to  cultivate  my  sense  of  feeling  in 
art  enough  to  enable  me  to  appreciate  such  works  of  art. 
The  etching  was  full  of  color.  I  know  now  that  the 
reason  I  did  not  appreciate  its  worth  was  because  I  had 
never  tried  to  paint  and  knew  nothing  about  color  at 
that  time.  All  I  saw  were  lines  which  did  not  mean 
anything  to  me;  but  I  knew  it  must  be  very  beautiful 
because  it  was  a  Corot.  Mr.  Love  had  just  returned 
from  Paris,  and  of  course  a  boy  of  eighteen,  who  had  never 
had  any  art  influence  in  his  mind,  would  receive  vivid  and 
lasting  impressions. 

After  the  death  of  Mr.  Love,  there  being  no  longer  an 
art  school  in  Indianapolis,  I  decided  to  go  to  New  York 
to  study,  and  sent  a  drawing  I  had  made  from  a  cast  to 
the  New  York  Academy  of  Design,  which  was  soon  re- 
turned to  me  saying  I  was  not  accepted  as  a  pupil.  Again 
I  sent  the  same  drawing  to  New  York,  this  time  to  the 
Art  Students'  League,  and  there  I  was  accepted.  I  went 
to  New  York  in  1881,  fired  with  the  conviction  that 
with  hard  work  I  could  be  able  to  take  a  good  place 
amongst  the  other  students  there.  My  one  hope  and  idea 
was  to  apply  myself  to  study,  and  I  resolved  to  work 
hard.  Indeed,  in  after  years  it  seemed  to  me  that  I  had 
never  studied  so  hard  as  during  those  few  months  in  New 
York  and  the  first  year  in  Paris. 

Before  going  to  New  York  I  fancied  I  would  be  com- 
peting with  students  who  could  draw  in  a  wonderful 
manner.  Great  was  my  surprise  when  I  first  entered 
the  Art  Students'  League  to  find  a  large  class  of  students 
drawing  from  the  casts,  and  all  of  them  apparently  near 
beginners;  moreover,  none  there  seemed  to  have  as  good 

126 


FIRST  INDIANA  SCHOOL  OF  ART 

an  idea  of  how  to  work  as  I  myself  had  gained  through 
Mr.  Love,  whose  method  soon  enabled  me  to  become  one 
of  the  strongest  in  the  class. 

The  teacher  in  the  antique  class  was  J.  Carroll  Beck- 
with,  and  I  remember,  the  first  time  he  came  to  criticize 
the  pupils,  he  stopped  at  my  drawing  and  seemed  sur- 
prised, asked  me  with  whom  I  had  studied,  called  some 
others  to  look  at  my  drawing,  and  told  them  that  was  the 
right  way  to  work.  During  my  winter  in  New  York  Mr. 
Beckwith  took  great  interest  in  me,  was  very  kind  and 
encouraged  me  in  every  way.  It  was  on  his  advice  that 
in  the  spring  I  sailed  for  Europe,  and  after  visiting  the 
galleries  of  London  I  went  to  Paris  to  study. 


Scott  arrived  in  Paris  in  May  of  1882,  re- 
solved to  enter  the  Ecole  des  Beaux-Arts.  He 
went  to  see  Cabanel,  the  teacher  he  admired,  in 
the  hope  that  he  would  be  accepted  as  a  pupil. 
With  a  roll  of  several  drawings  and  a  friend  to 
interpret,  he  went  to  Cabanel's  private  studio  in 
Pare  Monceau,  where  he  was  received  very 
kindly,  and  gained  permission  to  enter  the  de- 
sired classes  at  the  opening  of  the  fall  term  in 
October.  The  intervening  summer  was  spent  in 
drawing  from  the  famous  statues  of  antiquity  in 
the  Louvre,  which  was  an  added  foundation  that 
counted  much  for  his  future  work. 

After  two  years'  work  in  the  ficole  des  Beaux- 
Arts,  Scott  became  a  teacher  in  the  Art  Students' 
League  in  New  York.  Finding  very  little  art 
atmosphere  compared  to  Paris,  he  longed  to  re- 
turn, which  he  did  after  two  years.  He  felt 
the  need  of  greater  study,  so  he  went  back  to 

127 


ART  AND  ARTISTS  OF  INDIANA 

France,  where  he  became  permanently  estab- 
Hshed,  continuing  his  art  work  with  great  earn- 
estness of  purpose. 

Following  is  a  translation  of  an  article  by- 
Charles  Janneau  from  the  French  journal  Le 
Gil  Bias  of  February  16,  1912 : 

A  large  studio  which  suggests  a  Swiss  chalet  and  at  the 
same  time  a  family  hall  of  the  middle  ages,  lighted  by  a 
soft  light;  Breton  chests,  old  Gothic  chairs,  with  rugged 
sculptures  furnish  it.  On  the  walls  are  pictures,  studies 
of  land  and  sea,  showing  an  infinitely  refined  color  sense. 
This  is  the  studio  of  Mr.  Edwin  Scott.^ 

The  art  of  Mr,  Scott  is  penetrating,  incisive,  rather 
than  supple  and  flexible,  intuitive  rather  than  formal.  He 
is  strictly  analytical.  He  prefers  direct  notation  from 
nature.  He  says  himself  that  his  pictures  are  each  of  them 
direct  studies  from  nature.  "I  have  nevertheless  received 
instruction  of  the  Ecole  des  Beaux-Arts,"  he  confessed. 
"A  pupil  of  Cabanel.''" — I  did  not  try  to  repress  a  smile. 
"I  am  no  longer  one,"  rectified  the  artist.  "It  has  taken 
mighty  and  long  efforts  on  my  part  to  shake  off  the  yoke  of 
minute  and  dogmatic  formulas  I  had  learned  there.  I  do 
not  wish  to  condemn  the  instruction  of  the  schools,  which 
furnish  the  rudiments  that  help  to  strengthen  one's  draw- 
ing, but  one  must  know  how  to  break  away  from  it.  The 
schools  teach  too  much  to  the  hand  and  not  enough  to  the 
eye." 

"Why  is  it,"  was  asked  Mr.  Scott,  "that  the  instruction  of 
the  Academy  of  Fine  Arts  is  so  fatal.'"'  "Without  doubt 
it  is  because  counsel  is  given  by  men  who  have  never  con- 
sulted the  real  master — nature.  One  cannot  learn  all  in 
a  studio.  We  must,"  declared  the  painter,  "with  firm- 
ness respect  piously  the  truth  with  all  its  accidents  and 
surprises.  It  is  for  oneself  and  according  to  oneself  that 
one  works.  The  care  one  takes  to  compose,  to  make  a 
picture,  freezes  spontaneity  and  paralyzes  all  feeling.  We 
have  had  enough  pictures  made  with  compasses,  devoid  of 

*  The  studio  at  Grdville. 

128 


RUE  SAINT  HONORE 


FRANK  EDWIN  SCOTT 


FIRST  INDIANA  SCHOOL  OF  ART 

all  movement  and  life.  In  the  streets  do  not  the  people 
seem  to  move  confusedly,  as  by  chance?  It  is  better  to 
represent  their  silhouette  by  rapid,  sketchy  indications. 
In  reality  they  are  only  moving  forms,  with  only  half- 
formed  gestures. 

"I  am  sometimes  reproached  for  not  defining  more 
clearly  my  foregrounds.  Certainly  I  am  a  painter  of 
second  planes,  if  that  means  to  try  above  all  to  fix  an 
effect.  When  I  look,  it  is  not  at  my  feet.  I  see  things 
down  the  street  or  across  the  way  at  some  little  distance; 
besides,  one  must  not  be  subordinate  to  his  subject,  but  must 
dominate  it.  I  believe  it  is  impossible  to  express  a  thing 
quickly,  if  one  is  not  master  of  his  impression."  ...  I 
risked  a  question;  Mr.  Scott  was  very  much  astonished 
at  it.  "If  I  think  of  my  material.''  Manner  of  doing.'* 
No;  I  endeavor  to  realize  my  vision  by  the  shortest  and 
most  direct  means.  I  endeavor  to  produce  something  which 
expresses  just  what  I  feel." 

Mr.  Edwin  Scott  has  a  charming  manner,  both  timid 
and  fervent.  In  pronouncing  the  words  "do  something" 
he  put  into  it  all  his  faith  as  an  artist. 


Scott  made  his  debut  in  the  Paris  Salon  in 
1888  with  a  picture  called  the  "Return  of  the 
Fishing-Boats."  It  now  belongs  to  the  public 
schools  of  Indianapolis.  His  Salon  picture  in 
1893  was  the  "Reading  Lesson,"  which  was 
bought  by  the  John  Herron  Art  Institute.  From 
the  time  his  first  picture  was  accepted  he  contin- 
ued exhibiting  each  year  at  the  Paris  Salon  until 
1906,  when  he  emigrated  from  the  old  Salon  to 
the  Societe  Nationale,  where  he  was  represented 
that  year  by  two  pictures.  He  has  continued 
exhibiting  regularly  in  this  Salon.  In  1912  his 
picture    "A    Comer    of    Rue    Saint    Honore" 

129 


ART  AND  ARTISTS  OF  INDIANA 

brought  him  the  honor  of  being  elected  a  member 
of  the  Salon. 

The  trial  drawings  that  admitted  Frank  Scott 
to  the  Art  Students'  League  were  made  in  the 
rooms  of  the  Bohe  Club,  the  first  art  club  in  In- 
dianapolis. Its  members  were  the  students  and 
followers  of  John  Love.  It  was  organized  with 
the  thought  of  perpetuating  the  method  land 
meaning  of  his  instruction  and  to  keep  alive  the 
inspiration  and  influence  he  had  been  to  this 
group  of  young  men.  Love  was  too  severe  a 
critic  for  the  members  to  cultivate  visions.  The 
members  were  banded  together  for  real  study. 
In  1880,  at  the  suggestion  of  Tom  Hibben,  they 
opened  a  "string  of  studios"  on  the  floor  where 
the  Indiana  School  of  Art  had  been  established, 
to  provide  headquarters  for  "all  persons  who  have 
either  artistic  symptoms  or  sympathies."  They 
had  no  officers,  no  regular  meetings,  and  no 
women  members.  The  rooms  were  furnished  by 
contributions  of  the  necessary  artistic  materials, 
such  as  tables,  easels,  chairs  and  casts,  whatever 
provided  for  their  general  comfort,  by  the  mem- 
bers. One  catches  the  enthusiastic  spirit  of  the 
club  from  the  following  quotation  from  one  of 
the  youthful  group: 

In  these  rooms  was  placed  the  sketches*  and  work  of  the 
members.  There  were  pictures  everywhere;  big  pictures 
and  little  pictures,  pictures  in  oil-colors,  in  water-coloPS; 

130 


FIRST  INDIANA  SCHOOL  OF  ART 

in  no  colors,  mostly  unframed,  for  your  true  artist  has  a 
horror  of  conventionalities  and  regards  frames  as  a  doubt- 
ful concession  to  the  weakness  of  people  who  can't  find  a 
good  thing  without  a  gilded  guide-board.  Bits  of  bric-a- 
brac  are  stowed  about  with  skilful  carelessness,  here  a  head 
whose  original  must  have  walked  the  Athenian  boulevards; 
there  a  fan  some  Seville  beauty  may  have  toyed;  yonder  a 
vase  the  unique  ugliness  of  which  could  only  have  been 
evolved  by  Mersmann  or  a  Digger  Indian. 

The  leading  spirits  in  the  Bohe  Club  were 
William  Forsyth,  Fred  A.  Hetherington,  T.  E. 
Hibben,  Charles  Nicoli,  and  W.  O.  Bates.  There 
was  also  a  number  of  associate  members,  Hart- 
sel  Stem,  Clarence  Forsyth,  George  Cottman, 
and  others,  people  of  kindred  spirits  pursuing 
some  other  line  of  art. 


131 


VII.     WILLIAM   M.    CHASE   AND 
SAMUEL  RICHARDS 

WILLIAM  M.  CHASE  was  recognized 
among  the  artists  of  America  as  distinct- 
ly and  emphatically  a  painter,  both  by  his  pow- 
ers and  his  limitations.  He  had  an  eye  that  saw 
nature  in  its  colorful  and  picture  quality,  and 
a  hand  that  recorded  with  sureness  and  accuracy. 
Kenyon  Cox  said  of  him:  "He  cares  little  for 
abstract  form,  less  for  composition,  and  hardly 
at  all  for  thought  or  story;  but  the  iridescence 
of  a  fish's  back  or  the  creamy  softness  of  a 
woman's  shoulder,  the  tender  blue  of  a  morning 
sky  or  the  vivid  crimson  of  a  silken  scarf — yes, 
or  the  red  glow  of  a  copper  kettle  or  the  varie- 
gated patches  of  clothes  hung  out  to  dry — these 
things  he  seizes  upon  and  delights  in  and  renders 
with  wonderful  deftness  and  precision.  He  is, 
as  it  were,  a  wonderful  human  camera,  a  seeing 
machine,  walking  up  and  down  the  world,  and  in 
the  humblest  things  as  in  the  finest  discovering 
and  fixing  for  us  beauties  we  had  else  not  thought 
of.  Place  him  before  a  palace  or  a  market- 
stall  in  Haarlem,  Holland,  or  in  Harlem,  New 
York,  and  he  will  show  us  that  light  is  every- 

132 


en 

< 


8 

H 

H 

S    2 

o 

w 


WILLIAM  M.  CHASE 

where  and  that  nature  is  always  infinitely  in- 
teresting. His  art  is  objective  and  external,  but 
all  that  he  sees  he  can  render,  and  he  sees  every- 
thing that  has  positive  and  independent  exist- 
ence. He  is  a  technician  of  the  breed  of  Hals 
and  Velasquez;  a  painter,  in  a  word." 

William  M.  Chase  was  born  in  the  village  of 
Williamsburg,  afterward  called  Nineveh,  which 
is  located  on  the  borderland  of  Brown  County, 
not  far  from  Franklin,  Indiana.  When  Chase 
was  about  sixteen  years  old  his  father  went  to 
Indianapolis  to  live,  opening  the  largest  shoe 
store  in  the  city.  One  part  of  it  was  separated 
from  the  rest,  carpeted,  and  devoted  to  women. 
It  was  the  first  woman's  shoe  store  in  the  West. 
One  day  his  father  came  in  and  said:  "William, 
you  have  spoiled  wrapping-paper  enough  here; 
put  on  your  hat  and  come  with  me — I  am  going 
to  take  you  up  to  Hays." 

On  the  way  to  the  artist's  studio  the  father 
explained  regretfully  how  sorry  he  felt  that  his 
endeavors  to  make  a  business  man  of  his  son  had 
failed;  that  he  hadn't  much  hope  or  faith  in  his 
art  predilections,  but  that  he  was  willing  to  give 
him  a  chance  and  he  thought  a  studio  was  a  better 
place  for  that  chance  than  a  shoe  store. 

Hays  set  young  Chase  to  copying  in  oil  one 
of  Rosa  Bonheur's  pictures,  a  steel  engraving. 
The  copy  work  continued  for  about  one  year, 

133 


ART  AND  ARTISTS  OF  INDIANA 

when  Hays  did  Chase  a  genuine  service  by  ad- 
vising his  father  to  send  him  to  New  York. 

Chase  carried  with  him  several  letters  of  in- 
troduction to  wholesale  shoe  dealers,  who  were 
requested  to  keep  a  kindly  watch  over  him.  An- 
other letter,  which  proved  to  be  of  real  use,  was 
to  J.  O.  Eaton,  who  had  formerly  lived  in  In- 
dianapolis for  a  short  period.  On  Eaton's  advice, 
Chase  entered  the  schools  of  the  National  Acad- 
emy of  Design.  A  few  years  later  his  father 
failed  in  business  and  removed  to  St.  Louis, 
Missouri.  Then  it  became  necessary  for  young 
Chase  to  support  himself,  and  the  momentous 
question  to  be  decided  was,  should  he  be  a  shoe 
clerk  or  an  artist?  The  matter  was  taken  to 
Eaton,  who  advised  him  to  paint  fruit  and  flow- 
ers, in  which  line  of  work  he  had  already  been 
moderately  successful. 

In  1871  Chase  joined  his  parents  in  St.  Louis, 
considering  his  education  finished,  and  began  his 
career  as  an  artist,  painting  mostly  still-life  and 
an  occasional  portrait.  His  work  pleased  his 
patrons  and  for  a  time  he  was  a  prosperous  artist. 
About  this  time  John  Mulvany  ^  returned  to  St. 
Louis  from  his  study  in  Munich.  His  sketches 
were  a  revelation  of  the  possibilities  of  direct  and 
vigorous  painting.    William  Chase  was  much  in- 

*John   Mulvany   died   May,   1906.     He   is   best   known   by   his 
picture  entitled  "Custer's  Last  Rally." 

134 


WILLIAM  M.  CHASE 

terested  and  under  this  influence  awoke  to  a  sense 
of  his  own  shortcoming,  and  determined  to  go  to 
Munich  himself  and  recommence  his  studies.  His 
friends  gave  him  sufficient  commissions  for  self- 
support  for  a  time,  and,  laying  aside  all  preten- 
sions to  being  an  artist,  he  entered  the  academy 
and  worked  his  way  up  from  the  antique  class. 

It  is  interesting  to  note  that  from  its  earliest 
beginning  American  art  has  been  influenced  by 
the  art  of  Europe.  Copley  and  West  received 
their  incentives  and  suggestions  from  the  English 
artists,  who  were  naturally  nearer  and  better 
known  to  the  English  descendants  in  Puritanical 
settlements.  West  remained  in  England,  where 
later  he  received  as  pupils  such  men  as  Peale, 
Stuart,  Trumbull,  AUston,  and  Sully.  With  the 
death  of  West  and  the  advanced  age  of  Stuart 
there  came  a  decline  in  the  English  influence. 
The  loss  of  Benjamin  West,  so  long  president  of 
the  Royal  Academy,  was  a  great  blow;  his  per- 
sonal aid  and  counsel  had  been  most  generous, 
helpful,  and  advantageous  to  Americans  who 
had  gone  there  for  study. 

After  a  short  interim  there  came  into  existence 
the  first  native  school  of  art  in  our  country,  be- 
ginning with  figure  and  portrait  painting,  fol- 
lowed by  a  number  of  artists  who  painted  land- 
scapes. New  York  City  gradually  grew  into 
an  art  center,  and  with  the  formation  of  the 

135 


ART  AND  ARTISTS  OF  INDIANA 

National  Academy  of  Design  its  schools  natur- 
ally drew  the  younger  men  there  to  study. 

With  the  rise  of  the  Hudson  River  school  of 
painters  many  went  abroad  to  study,  Dusseldorf 
and  Rome  being  the  objective  points  of  most 
artists,  though  many  were  enthusiastic  about  the 
work  of  Constable  and  Turner  and  elected  to 
study  in  London.  Then  followed  the  romantic 
movement  of  France,  with  the  Barbizon  School 
and  the  academy  of  Couture,  with  accurate 
draftsmanship.  Holland  and  Belgium  helped 
the  American  student  to  become  unsettled  and  to 
wander  from  one  school  to  another  in  his  search 
of  knowledge. 

Early  in  the  sixties  there  was  a  new  impulse, 
this  time  coming  from  Germany  and  the  new 
school  in  Munich,  where  the  masters  were  paint- 
ing on  grounds  of  the  brownest,  warmest  bitu- 
men, with  broad,  sweeping  brush-work,  achiev- 
ing a  fascinating  effect  of  dashing  mastery  which 
displaced  Paris  artists  for  a  time.  The  first  of 
American  students  went  there  in  1861,  soon  to  be 
followed  by  many  others,  and  for  a  time  Munich 
became  the  Mecca  for  American  artists,  who 
worked  in  the  same  schools  with  the  men  who 
are  the  leaders  of  European  aii;  to-day. 

In  1872  Chase,  accompanied  by  Duveneck  and 
Shirlaw,  went  abroad  and  entered  the  Academy 
of  Munich,  where  he  remained  for  six  years.    He 

136 


WILLIAM  M.  CHASE 

studied  under  Wagner  and  Piloty  and  was  one 
of  the  most  brilliant  pupils;  but,  possessing  a 
certain  independence  of  thought  and  character, 
his  main  trouble  was  his  desire  to  compose  his 
own  pictures,  along  his  own  ideas,  instead  of  the 
usual  conventional  exhibition  picture.  Even  at 
this  time  he  painted  his  still-life  subjects  always 
with  innovations  and  the  possibilities  of  brilliant 
execution,  thus  working  and  developing  along  in- 
dependent lines.  Life  in  Munich  was  not  all  clear 
sailing.  With  insufficient  money  and  much  inde- 
pendence of  spirit  that  almost  amounted  to  being 
a  revolutionist  in  the  school,  his  career  was  some- 
what tempest-tossed.  He  was  severely  criticized 
by  the  teachers  for  his  original  treatment  of 
themes,  and  the  dealers  would  not  have  his  work: 
consequently  there  followed  a  starving  period. 
Then  the  tide  changed.  He  had  painted  a  study 
of  a  woman  in  a  black  riding  habit,^  which  he 
took  to  his  master,  Piloty,  for  criticism.  After 
looking  at  it,  Piloty  said:  "Mr.  Chase,  I  want 
you  to  paint  the  portraits  of  my  children;  I  will 
advance  you  one-half  of  the  price  before  you  be- 
gin work."  Immediately  every  one  in  Munich 
art  circles  knew  that  Chase  had  received  the  com- 
mission, and  his  reputation  was  assured:  the  seal 
of  approval  had  been  given  by  the  highest  au- 

*  It  now  hangs    in  the  reception-room  of  the  Union  League  Club 
of  New  York,  purchased  for  three  hundred  dollars. 

137 


ART  AND  ARTISTS  OF  INDIANA 

thority  of  his  day.  Dealers  were  ready  enough 
now  to  buy,  but  Chase's  independence  was 
greater  than  ever;  it  was  his  turn  to  say  no. 

He  remained  in  Munich  four  years  longer, 
taking  prize  after  prize  and  medal  after  medal, 
finally  attaining  the  highest  of  school  awards,  a 
free  studio.  During  this  period  he  preferred  his 
still-life  studies  to  everything  else. 

He  entered  the  art  life  in  Munich  in  the  truest 
sense.  All  Munich  men  were  enthusiastic  lovers 
of  the  great  old  masters.  He  worked  while  day- 
light lasted,  and  in  the  evening  frequented  the 
haunts  of  the  students,  to  talk  of  their  art  with 
them  over  their  pipes;  when  they  wanted  to  see 
pictures,  they  went  to  the  galleries  and  studied 
Rubens,  Hals,  or  Rembrandt.  He  cared  for 
nothing  but  his  art  and  how  to  paint,  and  so  he 
became  an  enthusiastic  workman,  handling  his 
colors  freely  and  well,  growing  in  the  power  to 
discern  what  was  paintable,  not  caring  for  story, 
subject,  or  composition,  simply  painting  for  the 
love  of  painting.  During  his  stay  in  Munich 
he  made  tours  to  other  cities  and  other  coun- 
tries to  study  the  masters,  and  saw  Salon  after 
Salon  in  Paris. 

At  the  close  of  his  work  in  Munich,  the  year  of 
1877  was  spent  in  company  with  Duveneck  in 
Venice.  In  1878  Chase  returned  to  New  York 
to  take  charge  of  the  painting  classes  in  the  Art 

138 


WILLIAM  M.  CHASE 

Students'  League,  directing  the  thought  and  life 
of  many  art  students  by  his  powerful  influence. 
For  nearly  forty  years  he  was  on  the  firing  line, 
painting,  teaching,  and  lecturing  with  amazing 
and  unconquerable  energy.  He  was  one  of  the 
most  aggressive  and  prominent  leaders  of  the 
new  movement  that  resulted  in  the  organization 
of  the  Society  of  American  Artists,  of  which  he 
was  president  for  ten  years,  his  studio  in  Tenth 
Street  being  the  place  of  meeting  and  rallying- 
ground  of  its  friends  until  the  cause  was  estab- 
lished and  on  a  firm  foundation.  Through  his 
influence  the  young  student's  work  was  admitted. 
He  delighted  in  the  technique  of  his  art,  and 
it  was  in  this  direction  he  was  a  leader. 

His  pupils  were  taught  to  use  paint  with  free- 
dom, which  was  probably  an  excellent  addition 
to  the  ordinary  instruction,  where  the  basis  is 
mainly  drawing.  The  strongest  characteristic  of 
his  work  was  his  versatility  and  wide  range  of 
subject,  portraits,  still-life,  landscape,  and  genre 
all  attracting  him.  Usually  he  painted  in  oil,  but 
water-color,  black  and  white,  and  pastel  were  also 
employed. 

For  many  years,  each  summer  found  him  re- 
turning to  the  haunts  of  his  student  days  with 
a  group  of  earnest  pupils.  It  was  not  only  Chase 
and  his  following,  but  at  this  period  there  was  a 
general  exodus  of  students  to  Europe  for  sum- 

139 


ART  AND  ARTISTS  OF  INDIANA 

mer  study.  It  was  thought  that  they  must  go  to 
the  old  world  for  paintable  subjects.  Then  came 
two  years  when  Chase  did  not  go  abroad  but 
passed  his  summers  in  Brooklyn,  New  York, 
exploring  the  city  environs  as  he  had  explored 
Amsterdam  and  Venice  for  his  sketches.  The 
summers'  work  proved  a  revelation  to  his  artist 
friends,  for  he  brought  back  a  great  number 
of  pictures  of  local  interest  that  were  just  as 
paintable  as  had  been  found  abroad,  proving  that 
there  was  sufficient  material  of  a  real  American 
quality  for  any  artist.  Many  of  these  were  park 
sketches,  with  deep  shadows  on  the  gravel  walks, 
the  brilliant  flowers  in  the  middle  distance,  the 
summer  stroller  in  the  foreground.  This  quality 
of  work  subsequently  found  many  imitators.  Hi? 
Shinnecock  work  also  had  its  vogue. 

Chase  had  a  distinguished  quality  of  color 
sense,  quiet,  poignant,  and  individual.  He  had 
an  appreciation  of  the  exact  value  of  a  small 
touch  of  vivid  color. 

One  of  his  most  valuable  contributions  to 
American  art  was  his  painting  of  the  figure  in 
relation  to  its  environment,  whether  it  be  in 
landscape  or  an  interior.  One  critic  has  said: 
"The  landscape,  with  the  small  relating  note  of 
the  figure.  Chase  has  seen  in  a  way  that  is  all 
his  own.  The  exact  value  of  a  crisp  little  pink 
hat;  a  red  bow;  a  child's  colored  stockings;  a 

140 


< 

s 


WILLIAM  M.  CHASE 

woman's  parasol  in  its  relation  to  the  wide  sweep 
of  the  Shinnecock  Moors ;  the  small  figures  in  that 
quiet  plane  of  grass  of  many  colors,  yet  one 
value — ^these  qualities  belong  to  Chase."  No  man 
has  more  thoroughly  influenced  the  art  of  Amer- 
ica, and  always  for  that  which  was  highest  and 
best. 

Chase  was  always  a  teacher,  for  he  had  the 
genius  of  teaching.  He  shared  his  precious  time 
with  his  students.  Aside  from  his  work  in  New 
York,  he  taught  in  the  Philadelphia  Academy 
and  at  the  Hartford  Art  School.  He  maintained 
a  summer  Art  School  at  Shinnecock,  Long 
Island.  He  never  discouraged  or  disturbed  any 
individuality,  manner,  or  taste  of  his  students. 
Scores  of  the  most  able  artists  were  under  his 
tutelage. 

Chase's  portrait  hangs  in  the  Ufflzi  Palace  at 
Florence,  that  interesting  gallery  devoted  to  the 
portraits  of  the  world's  great  painters  as  they  see 
themselves. 

With  all  his  versatility.  Chase  stood  pre- 
eminently as  a  painter  of  still-life  studies  and  in 
them  expresses  the  philosophy  of  his  art:  that 
a  painting  must  not  be  a  mere  feat  but  must 
contain  the  qualities  of  tone,  color,  and  com- 
position that  go  to  create  a  work  of  art.  Style 
is  the  rarest  thing  in  art,  and  style  is  one  of  the 
qualities  possessed  by  Chase. 

141 


ART  AND  ARTISTS  OF  INDIANA 

There  were  many  different  influences  upon  his 
life,  which  gave  Chase  his  splendid  technique  and 
his  substantial  realism.  There  grew  up  about 
him  a  group  of  painters  of  the  "plein  air"  school, 
notably  the  men  composing  the  original  group 
of  Ten  American  Painters,  which  was  organized 
in  1898,  who  in  their  work  are  exponents  of 
figures  in  the  open. 

Chase  was  essentially  a  teacher,  always  giving 
positive  advice,  and  many  of  his  sayings  have 
been  treasured  by  his  pupils,  such  as  the  fol- 
lowing: "Be  a  picture  worm."  "Combine  a  cer- 
tain amount  of  indifference  with  your  ambition. 
Be  carefully  careless.  If  you  don't  succeed  to- 
day there  is  always  to-morrow."  "Do  not  try  to 
paint  the  grandiose  thing;  paint  the  common- 
place so  that  it  will  be  distinguished."  He  ever 
gave  helpful  advice,  asking  his  pupils  never  to 
make  comparisons  between  their  own  pictures, 
but  to  forget  what  they  had  done  and  think  only 
of  making  the  best  of  what  they  were  then  paint- 
ing. 

His  life-work  came  to  a  close  on  October  25, 
1916,  after  a  summer  in  which  little  work  was 
accomplished.  Essential  artist  that  he  was,  he 
was  ever  humble  before  the  great  spirit  of  art. 
In  his  mind  there  remained  always  the  distance 
between  his  ideal  and  his  achievement,  a  deep 
feeling  expressed  once  when,  after  showing  a 

142 


SAMUEL  RICHARDS 

number  of  his  pictures  to  a  guest,  he  pointed  to  a 
blank  canvas  and  said: 

"But  that  is  my  masterpiece — ^my  unpainted 
picture." 

SAMUEL  RICHARDS 

Somewhere  in  the  innermost  depths  of  his  be- 
ing, man  knows  there  is  an  impelling  force  that  is 
leading  him;  it  is  a  subtle  power  that  becomes 
an  integral  part  of  his  very  nature  and  makes 
him  leave  all  else  and  follow  the  gleam  with  an 
indefatigable  spirit,  a  steady  purpose  that  is  his 
genius  and  that  he  knows  in  the  indefinable  some- 
time will  bring  him  his  longed-for  hope,  his  suc- 
cess, his  ideal  and  its  achievement  and  fruition. 

The  all-consuming  passion  of  Samuel  Rich- 
ards from  his  earliest  youth  was  to  paint.  No 
task  was  too  great  or  too  tiresome  if  in  the  end 
he  was  to  obtain  materials  with  which  to  further 
his  artistic  desires.  He  also  possessed  consid- 
erable mechanical  ingenuity,  and  it  is  related 
among  other  stories  that  at  the  age  of  twelve  he 
constructed  a  small  wagon  that  delighted  his 
playmates;  this  he  painted  red  three  times  over 
and  then  sold  it  in  order  to  buy  more  paint.  He 
played  truant  to  sketch  one  of  his  playmates. 
At  twelve  or  fourteen  years  of-  age  he  drew  on 
the  blackboard  a  caricature  of  the  angular  dis- 
ciplinarian who  was  at  the  head  of  the  old  semi- 

143 


ART  AND  ARTISTS  OF  INDIANA 

nary  of  Spencer,  which  he  forgot  to  erase.  The 
old  professor  appreciated  the  ability  shown,  and 
gave  not  blame  but  praise  to  the  youthful  artist. 

His  days  in  school  were  few,  yet  his  education 
was  continued  by  the  careful  reading  and  reread- 
ing of  books  which  he  filled  with  marginal  anno- 
tations and  references  from  one  book  to  another. 
He  was  an  unwearied  student  of  historical  and 
biographical  literature,  which  gave  him  a  breadth 
of  knowledge  and  acquaintance  with  events  and 
personalities  that  few  men  possess. 

His  independence  of  character  and  thought,  his 
great  desire  to  study  art,  caused  him  to  enter 
business  life  at  an  early  age,  as  an  assistant  and 
eventually  bookkeeper  in  the  general  store  of  the 
village  of  Spencer.  During  the  evening  and  far 
into  the  night  he  read  and  studied  drawing.  The 
village  loafers  who  congregated  about  the  little 
store  and  the  county  court-house  were  indelibly 
impressed  upon  his  mind,  and  furnished  sub- 
jects for  many  of  his  character  studies.  These 
were  stored  up  in  his  memory,  to  be  drawn  upon 
for  his  pictures  in  after  life.  The  first  public 
recognition  of  his  artistic  ability  was  in  the  shape 
of  advertising  placards  in  store  windows,  and 
during  the  county  elections,  when  he  made  cari- 
catures of  the  defiant  victors  and  the  defeated 
victims. 

"An  early  court-room  character  sketch,  re- 


SAMUEL  RICHARDS 

membered  still  by  one  of  the  older  lawyers  in 
Spencer,  Indiana,  was  that  suggested  by  a  suit 
to  replevin  a  cow  worth  ten  dollars.  The  animal 
in  question  was  depicted  with  a  rope  around  her 
horns,  upon  which  one  litigant  was  pulling  for 
dear  life,  while  the  other  with  a  hold  of  despera- 
tion was  hanging  upon  the  tail.  The  two  lawyers, 
utterly  oblivious  to  the  claims  of  their  respective 
clients,  sat  on  either  side,  calmly  milking  and  fill- 
ing their  own  buckets  with  all  the  good  there  was 
left  of  her.  To  the  boy  fell  the  cream  of  the 
joke."^ 

An  unswerving  determination  to  become  an 
artist  possessed  young  Richards  and  he  felt  he 
must  find  some  larger  experience  and  oppor- 
tunity. In  June  of  1871,  when  but  eighteen 
years  of  age,  he  went  to  Indianapolis  with  a 
high  hope  in  his  breast,  only  to  find  an  unpromis- 
ing yea  an  impossible  school  for  an  honest  stu- 
dent of  art.  He  entered  the  studio  of  Theodore 
Lietz,  a  photographer  who  painted  portraits  and 
enlarged  photographs.  As  they  worked  together 
the  elder  man,  who  had  been  a  student  of  one  of 
the  old  German  universities  and  possessed  much 
culture  and  information,  talked  of  the  great 
European  galleries  and  taught  his  mother- 
tongue  to  his  young  companion.  A  strong  sym- 
pathetic friendship  grew  up  between  the  two,  but 

*  From  letters  from  Mrs.  Samuel  Richards. 

145 


ART  AND  ARTISTS  OF  INDIANA 

the  would-be  artist  soon  realized  that  there  were 
no  short  cuts  to  art  and  that  he  must  seek  else- 
where to  know  the  slow  processes  of  art  that  was 
legitimate. 

With  a  desire  in  his  heart  to  study  abroad, 
Richards  wrote  to  Hiram  Powers/  then  in  Italy, 
but  received  no  encouragement,  since  Florence 
was  no  longer  a  cheap  city  in  which  to  live.  The 
letter  closed  with  good  advice  "to  copy  as  best 
you  can  the  features  of  persons  just  as  you  find 
them.  .  .  .  This  will  make  you  a  close  observer 
of  nature  and  it  will  lead  you  finally  to  the  ideal, 
for  it  will  supply  you  with  knowledge  of  all 
parts  and  proportions,  without  which  there  can- 
not be  much  expression  in  ideal  works.  Indeed, 
expression  often  depends  upon  minute  touches. 
There  is  not  a  line  or  wrinkle  in  any  face  that 
does  not  mean  something  or  that  is  not  required 
more  or  less  for  the  expression  of  its  individ- 
uality." 

With  these  suggestions  implanted  in  his  heart, 
Richards  returned  to  his  home  in  Spencer,  In- 
diana, with  one  thought  before  him :  how  to  earn 
enough  money  ultimately  to  obtain  the  discipline 
and  preparation  for  his  life-work  in  the  art 
schools  of  the  old  country.  There  was  a  well 
remembered  "boom"  in  Indianapolis  real  estate 
about  this  time,  and,  to  hasten  the  increase  of  his 

*  Hiram  Powers  lived  for  many  years  in  Brookville,  Ind. 

146 


SAMUEL  RICHARDS 

small  savings,  he  was  persuaded  to  invest  all  of 
his  own  and  some  borrowed  money  in  some  vacant 
lots.  Quickly  there  followed  the  "slump"  and 
the  old  story  was  again  repeated :  "All  was  gone." 
He  painted  portraits  in  his  own  town  and  in  In- 
dianapohs  to  lift  the  heavy  debt  under  which  he 
labored. 

In  1873  Richards  went  to  Franklin,  Indiana, 
to  live.  There  he  opened  a  studio,  hung  up  his 
drawings  and  pinned  his  sketches  to  the  wall,  A 
few  orders  came  for  portraits,  and  so  began  the 
life  that  had  its  fruition  in  a  wife  and  home. 
In  1877  they  removed  to  Anderson,  Indiana. 
Here  he  first  met  James  Whitcomb  Riley,  then 
unknown  as  a  poet.  Riley  was  employed  as  a 
local  news-gatherer  on  the  weekly  Democrat,  A 
warm  friendship  grew  up  between  the  two,  which 
was  enduring. 

In  January,  1880,  Richards  received  a  letter 
from  a  friend  who  was  then  in  Washington  in 
the  House  of  Representatives.  He  had  just 
learned  of  an  art  student  going  to  Europe  for 
study  who  had  been  furnished  the  means  by  the 
prepayment  of  orders  to  be  furnished  later.  This 
seemed  an  idea  that  was  transferable,  and  in  his 
generous  enthusiasm  this  man  helped  make  it 
possible  for  Richards  to  fulfil  the  long  dormant 
hope  and  his  fondest  dream.  The  thought,  in- 
deed, was  transferable.     Quickly  it  was  passed 

147 


ART  AND  ARTISTS  OF  INDIANA 

by  Richards  to  the  friends  of  another  art  student, 
and  he  too  joined  the  group  of  artists  who  left 
in  July  of  that  year  to  study  at  the  Royal  Acad- 
emy of  Munich. 

Then  came  the  question  of  how  to  study,  with 
the  uncertainty  of  the  future  before  him.  Many 
students  had  been  forced  to  make  an  untimely  re- 
turn; few  had  remained  to  learn  all  the  schools 
had  to  teach  them;  but  the  one  great  oppor- 
tunity was  his  and  he  determined  to  make  the 
most  of  it.  So  Richards  planned  to  work  on 
steadily  without  haste  or  pause,  as  though  all 
the  time  in  the  world  were  his  and  he  was  to  study 
forever.  He  began  in  the  antique  classes  under 
Straehuber,  where  he  remained  for  two  years 
and  came  to  be  counted  as  the  finest  draftsman 
among  the  six  hundred  students.  He  attended 
anatomical  lectures  for  two  years  at  the  medical 
college  in  the  University  of  Munich.  For  sev- 
eral years  he  spent  much  time  painting  under 
Benczur,  Gysis,  and  von  Loefftz;  he  studied  com- 
position; he  studied  the  masters  in  the  Pina- 
kothek.  His  "Little  Italian  Singing  Boy"  was 
the  first  original  picture  to  bring  him  recognition. 
The  way  opened  for  him  to  remain  longer.  He 
was  an  indefatigable  worker,  making  rapid 
progress,  winning  school  recognition,  receiving 
the  encouragement  and  friendship  of  the  masters. 

Some  vacations  were  spent  in  Florence  and 
148 


JOHN  ADDINGTON  SYMONDS 

SAMUEL  RICHARDS 


OWNED    BY    ABT    ASSOCIATION    OF   INDIANAPOLIS 


SAMUEL  RICHARDS 

Rome.  Richards'  great  joy  at  seeing  pictures 
was  pathetic  in  its  earnestness.  He  wanted  that 
no  word  should  be  spoken  as  he  studied,  that 
he  might  comprehend  the  skill  of  the  greatest 
artists. 

As  the  years  went  by  he  established  his  own 
studio  in  Munich,  and  a  very  warm  friendship 
existed  between  Richards  and  Professor  von 
Loefftz.  He  became  a  regular  exhibitor  at  the 
Salon  and  the  Kunst  Verein,  the  latter  being  an 
incorporation  of  artists  of  Munich  whose  ob- 
ject was  to  maintain  a  high  standard  of  ex- 
cellence. 

During  much  of  his  earlier  life  he  had  been 
threatened  by  that  dread  disease  that  has  claimed 
so  many  prominent  men  in  their  prime.  Grad- 
ually he  was  less  able  to  spend  any  length  of 
time  at  his  painting,  yet  no  day  passed  without 
its  period  of  work.  It  was  at  this  time  he  began 
painting  his  "Evangeline." 

Early  in  Richards'  life  his  mind  was  diverted 
for  a  short  period  from  its  original  desire:  he 
and  a  young  companion  thought  to  write  poetry. 
They  studied  Longfellow  assiduously,  and  some 
of  their  puerile  verses  were  forwarded  to  the 
poet  for  criticism.  Though  he  gave  no  encour- 
agement to  the  youths,  the  study  had  left  a 
lasting  impression,  and  when  the  time  came  for 
Richards  to  paint  his  masterpiece  he  chose  for 

149 


ART  AND  ARTISTS  OF  INDIANA 

his  subject  the  thought  expressed  in  the  lines  of 
"Evangeline": 

Suddenly  as  if  arrested  by  fear  or  a  feeling  of  wonder, 
Still  she  stood,  with  her  colorless  lips  apart,  while  a  shudder 
Ran    through    her    frame,    and    forgotten,    the    flowerlets 

dropped  from  her  fingers. 
And  from  her  eyes  and  cheeks  the  light  and  bloom  of  the 

morning. 

Shortly  after  beginning  this  picture  he  be- 
came an  invalid;  but  the  desire  to  work  was  so 
intense  that  his  physician  thought  it  more  harm- 
ful to  prevent  than  to  let  him  go  on  with  his 
customary  routine.  With  his  characteristic  ear- 
nestness and  the  desire  to  develop  all  the  ability 
and  power  he  possessed,  he  wrote  to  a  friend: 
"My  maxim  has  ever  been  never  to  give  up  as 
long  as  you  can  draw  one  more  breath,  and 
I  will  be  true  to  that  sentiment  to  the  brink  of 
the  grave."  With  this  fortitude  of  spirit  his  life 
blood  went  into  his  "Evangeline." 

The  picture  is  a  large  one,  the  figures  being 
life-size.  The  scene  depicted  is  the  interior  of  a 
room  in  a  hospital  with  two  patients  and  the 
nurses  in  attendance.  Evangeline  as  the  Sister 
of  Mercy  is  in  the  center  of  the  picture  and  the 
object  of  interest,  every  eye  in  the  room  being 
turned  toward  her.  As  she  recognizes  in  the 
patient  before  her  her  long-lost  Gabriel,  she 
drops  at  her  feet  the  flowers  she  was  holding  and 
clasps  her  hands  to  restrain  her  emotion.     The 

150 


SAMUEL  RICHARDS 

crowning  triumph  of  the  artist  is  in  the  marvel- 
ous expression  of  her  face,  which  is  in  shadow, 
and  the  manner  in  which  all  interest  is  focused  on 
the  central  figure. 

On  the  completion  of  the  picture  the  studio  was 
thrown  open  and  many  came  to  see  his  work.  It 
was  placed  on  exhibition  at  the  exposition  in 
Paris  in  1890,  and  subsequently  brought  to 
America  and  shown  in  Boston,  Philadelphia,  and 
Indianapolis.  It  was  purchased  by  the  Hon. 
Bela  Hubbard  at  a  cost  of  six  thousand  dollars,^ 
and  placed  in  the  permanent  gallery  of  the  De- 
troit Museum. 

During  the  time  Richards  was  painting 
*'Evangeline"  a  letter  came  from  Boston  offer- 
ing him  the  directorship  of  a  proposed  art  school 
to  be  formed  in  Boston  after  the  European  acad- 
emies, asking  him  to  select  and  bring  over  teach- 
ers from  any  of  the  European  schools  regard- 
less of  nationality.  The  powerful  hand  of  that 
dread  destroyer  was  laid  heavily  upon  him  at  that 
time,  and  he  was  compelled  to  decline  the  mag- 
nanimous offer;  indeed,  it  was  necessary  for 
him  to  seek  another  climate  during  the  severe 
weather. 

In  1887  he  spent  the  winter  at  Davos,  Switzer- 
land, where  others  had  found  the  air  beneficial. 

*A  letter  dated  April  19,  1916,  from  Charles  Moore,  Director 
of  the  Detroit  Museum,  says:  "At  the  time  of  its  acquisition  in 
1891  the  picture  had  a  value  of  ten  thousand  dollars.'* 

151 


ART  AND  ARTISTS  OF  INDIANA 

Here  he  took  the  adjoining  villa  and  became  the 
close  friend  of  John  Addington  Symonds,  that 
English  critic  of  art,  scholar,  and  aristocrat  who 
with  Robert  Louis  Stevenson  had  spent  several 
years  in  that  climate/  Symonds  too  was  an 
invalid  and  a  strong  friendship  sprang  up  be- 
tween the  two  men  in  their  isolation. 

Symonds  had  been  in  Florence  just  previous 
to  this  time,  on  the  occasion  of  opening  the 
private  papers  of  Michelangelo  on  the  four  hun- 
dredth anniversary  of  his  death.  The  special 
privilege  had  been  accorded  Symonds  by  the 
Italian  Government  to  have  full  access  to  these 
papers,  to  use  as  he  might  choose,  since  he  was 
considered  the  greatest  interpreter  of  this  master 
of  the  fifteenth  century.  These  papers  were 
carried  back  to  Davos  and  Richards  proved  such 
a  sympathetic  and  interested  audience,  as  Sy- 
monds read  them  for  the  first  time,  that  very 
intimate  relations  obtained  between  them.  As 
the  critic  read  these  wonderful  old  documents 
that  had  been  concealed  through  the  centuries, 
the  artist  made  a  pen-and-ink  sketch  of  the  read- 
er. Later  Symonds  said:  "You  have  seen  and 
put  in  my  face  everything  and  more  than  I  would 
have  had  the  world  see."  When  death  had 
claimed  both  of  these  men,  the  sketch  was  given 

*  Robert   Louis    Stevenson   had   left   the   year   before    Richards 
went  to  Davos. 

152 


SAMUEL  RICHARDS 

to  their  friend  and  physician  Dr.  Carl  Ruedi, 
and  when  he  too  was  laid  away  under  the  Alpine 
snows,  the  picture  was  returned  to  Mrs.  Richards, 
and  has  since  been  acquired  by  the  John  Herron 
Art  Institute. 

What  Symonds  had  accomplished,  handi- 
capped by  the  same  disease,  afforded  a  stimulus 
to  the  doomed  artist,  and  he  would  say:  "Sy- 
monds is  my  hope:  he  has  lived  to  belie  phy- 
sicians' prophecy;  so  will  I." 

Symonds  frankly  said  he  had  never  met  an 
artist  before  that  he  could  endure.  The  influ- 
ence of  Richards  on  his  critical  judgment  of  art 
is  shown  in  the  following  incident :  On  one  of  his 
trips  to  Italy,  as  he  was  roaming  about  the  Pitti 
gallery  at  Florence,  he  noticed  a  party  of  Amer- 
icans grouped  before  one  of  the  masterpieces. 
One  of  them,  a  young  woman,  was  reading  aloud 
from  the  catalogue  what  proved  to  be  Symonds' 
own  critical  estimate  of  the  picture.  He  be- 
came a  much-interested  listener,  and  finally  as 
the  lady  finished  he  moved  nearer  the  group,  and, 
apologizing,  he  introduced  himself,  at  the  same 
time  saying  it  might  please  them  to  know  that  his 
opinion  of  this  picture  had  changed  materially 
since  writing  what  they  had  just  read  and  that 
this  change  was  due  to  the  influence  of  a  most 
gifted  artist,  one  of  their  own  countrymen, 
Samuel  Richards. 

153 


ART  AND  ARTISTS  OF  INDIANA 

The  alarming  inroads  made  by  Richards' 
malady  was  rapidly  consuming  what  had  seemed 
his  invincible  strength,  and  in  1891  it  was  deemed 
best  that  he  should  return  to  America.  After 
a  short  visit  to  the  old  home  in  Anderson,  he  and 
Mrs.  Richards  went  to  Denver,  Colorado,  in  the 
hope  that  here  he  might  gain  a  semblance  of 
health.  He  undertook  the  directorship  of  the 
Denver  Art  League,  but  was  able  to  retain  the 
work  for  only  one  year.  It  was  also  necessary 
for  him  to  decline  the  offer  of  the  directorship 
of  the  art  department  in  Leland  Stanford  Junior 
University  in  California,  as  well  as  the  offer  that 
was  tendered  him  to  plan  and  conduct  the  art 
work  of  the  Armour  Institute  of  Chicago. 

Courageous  to  the  last,  Richards  refused  to 
rest  completely,  but  conducted  an  art  class  in 
Denver  up  to  the  day  of  his  death,  which  was 
hastened  by  an  attack  of  the  grippe,  which  lasted 
only  three  days  before  he  passed  away  on  Novem- 
ber 30,  1893. 

A  few  months  before  there  had  been  a  happy 
reunion  between  the  old  friends  James  Whit- 
comb  Riley  and  the  Rev.  Myron  Reed,  who  came 
to  the  tent  abode  of  Samuel  Richards  and  spent 
the  afternoon.  The  three  talked  of  their  early 
struggles,  their  unappreciated  efforts,  and  the 
long  intervening  years  that  had  proved  them 
courageous  crusaders,  each  following  the  gleam 

154 


SAMUEL  RICHARDS 

that  led  toward  his  cherished  hope.  The  after- 
noon merged  into  evening  as  they  talked,  and 
the  fading  light  dimmed  into  twilight  as  the 
friends  gaily  took  their  leave  and  walked  across 
the  open  away  frqm  the  setting  sun  and  the  abid- 
ing-place of  the  artist.  Then  they  turned  for  a 
last  salutation,  and  Richards  called  to  them: 
"Good  night,  old  friends,  good  night — for  there 
is  no  good-by." 

After  his  death,  James  Whitcomb  Riley  wrote 
the  following  obituary  poem: 

THE   MASTER-FRIEND 
Samuel  Richards.    Obituary,  Colorado,  November  30,  1893. 

Not  only  master  of  his  art  was  he, 

But  master  of  his   spirit — winged  indeed 

For  lordliest  height,  yet  poised  for  lowliest  need 

Of  those,  alas,  upheld  less  buoyantly. 

He  gloried  even  in  adversity. 

And  won  his  Country's  plaudits,  and  the  meed 

Of  Old  World  praise,  as  one  loath  to  succeed 

While  others  were  denied  like  victory. 

Though  passed,  I  count  him  still  my  master-friend. 

Invincible,  as  though  his  mortal  flight. 

The  laughing  light  of  faith  still  in  his  eye 

As,  at  his  wintry  tent,  pitched  at  the  end 

Of  life,  he  gaily  called  to  me,  "Good  night. 

Old  friend,  good  night — for  there  is  no  good-by." 


155 


VIII.     THE  HOOSIER  GROUP 

THE  American  students  who  had  been  in 
Europe  during  the  seventies  were  return- 
ing. They  may  not  have  been  full-fledged  paint- 
ers, but,  fired  with  a  new  enthusiasm,  they  were 
telling  of  the  greater  opportunities  for  study, 
of  the  classical  tradition,  the  technique,  and  the 
methods  of  work  that  were  to  be  mastered  in  the 
foreign  schools.  Some  articles  by  Benjamin  in 
1879  appeared  in  the  old  Scrihtiers,  afterward 
the  Century,  on  American  art  students  in 
Munich,  and  the  spirit  of  enthusiasm  penetrated 
to  the  struggling  and  isolated  artists  in  Indiana 
who  had  little  to  encourage  them  and  who  were 
working  without  standards  after  the  closing  of 
the  Indiana  School  of  Art.  There  was  some- 
thing of  an  exodus  from  the  state  when,  in  1880, 
a  group  left,  consisting  of  T.  C.  Steele  and 
family,  J.  Ottis  Adams,  Samuel  Richards  and 
his  wife,  Carrie  Wolff,  and  August  Metzner,  who 
went  directly  to  Munich,  where  they  entered  the 
Royal  Academy;  William  Forsyth  joined  them 
in  January,  1883.  Otto  Stark  had  gone  to  New 
York  in  1879  and  to  Paris  a  few  years  after  to 
study  art  in  the  Julien  Academy. 

156 


THE  HOOSIER  GROUP 

They  stood  the  personal  and  endurance  test 
each  in  his  own  way,  remaining  as  long  as  pos- 
sible, and  then  began  to  return  one  at  a  time, 
fresh  from  their  continental  training,  well 
equipped  to  undertake  their  life-work.  An  inno- 
vation was  inevitable.  The  students  lived  up  to 
the  expectation,  endured  the  criticism,  and  even- 
tually received  the  approbation  of  their  fellow- 
citizens. 

They  opened  studios;  they  studied  Indiana's 
quiet  meadows,  the  brooks,  the  rich  foliage;  they 
worked  together  and  they  worked  independently; 
but  withal  they  expressed  their  own  personal 
feeling  for  nature  and  beauty  and  lifted  them- 
selves to  a  higher  plane,  doing  a  broad  original 
work  with  a  distinct  local  infusion  and  coloring. 

Indiana  people  have  felt  for  a  number  of  years 
a  just  pride  in  what  has  become  recognized  not 
only  in  our  own  state  but  in  art  centers  and  in 
the  art  world  as  the  "Hoosier  Group"  of  ar- 
tists. The  pleasure  is  not  only  in  the  distinction 
that  has  come  to  this  small  group  of  men  who 
have  painted  with  such  individuality  as  to  be- 
come singled  out  as  a  school,  but  in  the  fact  that 
they  have  remained  in  Indiana,  where  they  found 
local  color  the  raison  d'etre  for  this  expression. 

The  Hoosier  Group  in  the  broadest  sense  of 
the  word  is  a  school  of  painters  in  the  same 
import  that  the  Italian  schools  of  the  Renaissance 

157 


ART  AND  ARTISTS  OF  INDIANA 

were.  From  the  many  distinctive  characteristics 
of  our  great  America  will  come  marked  and  in- 
dividualized schools  from  the  various  sections; 
then  there  will  be  a  native  art.  Indiana  artists 
have  been  the  first  in  the  West  to  recognize  and 
express  purely  local  conditions  in  their  motifs 
and  coloring,  as  the  Hudson  River  School  was 
in  the  art  world  of  the  East. 

The  work  of  these  men  was  distinctly  provin- 
cial and  their  method  highly  specialized — at  one 
time  it  was  thought  too  much  so,  but  that  can- 
not be  said  of  any  art  to-day.  The  interest  of 
the  Hoosier  Group  is  in  the  scenery  of  their  own 
state.  They  have  given  pictorial  expression  to 
something  as  indigenous  to  Indiana  as  the 
poetry  of  James  Whitcomb  Riley  and  other 
literary  men.  They  never  fail  to  delineate  the 
native  charm,  devoting  their  time  to  the  prob- 
lems of  light,  color,  and  atmosphere,  which 
has  a  peculiar  fascination  in  early  spring  and 
late  autumn.  These  men  never  condescend  to 
the  general  demand  on  the  part  of  the  public  for 
work  of  a  popular  nature;  they  are  never  ac- 
cused of  debauching  public  taste. 

Their  earlier  paintings  were  dark  and  brown, 
their  brush-work  unctuous,  resembling  the  work 
and  influence  of  the  masters  in  the  foreign  acad- 
emies; but,  working  without  restraint  and  feel- 
ing the  new  influence,  the  spirit  of  Indiana  scen- 

158 


THE  HOOSIER  GROUP 

ery,  the  inspiration  of  the  sunshine  and  shadows 
on  wood  and  meadow,  the  personal  feeling  and 
the  technique  gradually  changed  in  character, 
and  soon  they  were  using  pure  clean  color,  add- 
ing the  lights,  shades,  and  details  with  a  strong 
brush,  grasping  an  understanding  and  develop- 
ing until  each  man  was  secure,  having  rightly 
formed  his  own  style. 

Almost  ten  years  had  passed  in  this  time. 
Stark  was  painting  with  a  touch  of  poetry  and 
a  touch  of  sentiment;  Steele  was  making  us 
feel  the  largeness  of  his  compositions  and  the  en- 
veloping atmosphere;  Adams  was  handling  his 
touches  of  pure  color  with  boldness,  giving  at 
once  vibration  and  brilliancy  of  sunlight; 
Forsyth  was  painting  with  virility  his  broadly 
treated  landscapes;  while  Gruelle,  with  his  pro- 
found love  for  nature  and  his  feeling  for  art, 
was  following  closely  in  the  wake  of  those  who 
had  been  more  favored  in  their  opportunity  for 
study.  Under  the  patronage  of  the  Art  Asso- 
ciation of  Indianapolis,  a  local  exhibition  of  the 
work  of  these  men  was  held  in  rooms  at  the  Deni- 
son  Hotel  early  in  the  winter  of  1894.  The  ar- 
tists represented  were  William  Forsyth,  Rich- 
ard B.  Gruelle,  Otto  Stark,  and  T.  C.  Steele. 
The  distinctive  name  Hoosier  Group  dates  from 
this  exhibit, 

159 


ART  AND  ARTISTS  OF  INDIANA 

During  this  exhibition  Hamlin  Garland  came 
to  IndianapoHs  to  deliver  a  lecture,  and  was 
taken  to  see  the  work  of  the  Indiana  men.  He 
was  so  favorably  impressed  that  upon  his  return 
he  presented  the  matter  of  taking  the  exhibition 
to  Chicago.  The  Central  Art  Association  con- 
sidered it  favorably  and  the  artists  sent  their 
work.  At  the  suggestion  of  T.  C.  Steele  the 
work  of  J.  Ottis  Adams  was  added,  since  his 
pictures  rightfully  belonged  in  this  first  showing 
of  Indiana  artists. 

Lorado  Taft,  Charles  Francis  Brown,  and 
Hamlin  Garland  were  called  the  "Critical  Trium- 
virate," and  the  Central  Art  Association  pre- 
sented their  second  report  in  connection  with 
this  first  special  exhibit  of  the  work  of  the  five 
Hoosier  painters.  As  an  introduction  they  said 
in  part: 

For,  aside  from  their  inherent  excellence  as  artists,  the 
history  of  their  development  has  special  significance.  It 
exemplifies  all  the  difficulties  in  the  way  of  original  West- 
ern art  and   foreshadows   its  ultimate  victory. 

These  men  were  isolated  from  their  fellow-artists;  they 
were  surrounded  by  apparently  the  most  unpromising  ma- 
terial: yet  they  set  themselves  to  their  thankless  task 
right  manfully,  and  this  exhibition  demonstrates  the 
power  of  the  artist's  eye  to  find  floods  of  color,  graceful 
forms,  and  interesting  compositions   everywhere. 

These  artists  have  helped  the  people  of  Indiana  to  see 
the  beauty  in  their  own  quiet  landscape.  They  have  not 
only  found  interesting  things  to  paint  near  at  hand — they 
have  made  these  chosen  scenes  interesting  to  others. 
Therein  lies  their  significance. 

160 


THE  HOOSIER  GROUP 

Then  follows  an  interesting  conversational  dia- 
logue between  the  Novelist,  the  Conservative 
Painter,  and  the  Sculptor,  who  discuss  the  in- 
dividuality, the  versatility,  the  freedom  from  con- 
ventionahty  of  the  pictures  of  the  men,  whom 
they  term  the  Hoosier  Group,  predicting  that 
they  would  help  "transform  the  color  sense  of 
the  whole  West,"  casting  for  them  a  future  filled 
with  possibilities.  Two  decades  have  passed. 
Our  artists  have  grown  in  subtle  insight,  in 
stronger  composition.  Their  work  has  grown  in 
real  feeling,  in  richness,  and  in  execution.  They 
have  fulfilled  the  prediction  of  Hamlin  Garland 
when  he  said;  "It  marks  an  era  in  Western  art."^ 

The  January,  1895,  issue  of  the  Arts  com- 
ments editorially  in  part  as  follows ; 

The  Indianapolis  Group  met  with  the  success  it  deserved, 
and  won  well  earned  laurels  from  both  public  and  press. 
.  .  .  We  brought  their  pictures  here  from  an  interior  State, 
not  because  they  had  been  heralded  by  trumpet  and  song, 
not  because  they  were  recommended  by  people  of  influ- 
ence or  friendly  critics,  for  they  had  scarcely  been  noticed 
at  the  recent  Indianapolis  exhibit,  but  because  they  were 
honest  efforts  ably  expressed,  honest  illustrations  of  what 
America  had  to  offer  in  the  way  of  art;  the  men  who 
painted  these  pictures  had  interpreted  the  life  and  scen- 
ery that  was  nearest  them.  .    .    . 

They  appeal  to  us  very  strongly,  for  there  is  a  brave, 
noble  note  in  them  all.  They  are  fresh,  buoyant  works, 
bright  with  sunshine,  firm  in  touch.  They  were  done  by 
manly,   self-reliant  fellows,  who  paint  cheerily  and  make 

*"The  Hoosier  Group,"  by  a  Critical  Triumvirate,  was  pub- 
lished in  pamphlet  form  with  the  catalogue  of  the  exhibit  by  the 
Art  Association  of  Chicago. 

161 


ART  AND  ARTISTS  OF  INDIANA 

faces  at  hard  luck.  Yes,  we  like  those  pictures  not  only 
because  they  are  good  subjects,  well  treated,  but  because 
of  the  manhood  behind  them.  It  is  pretty  hard  to  stand 
alone  and  do  the  right  thing,  when  everybody  about  you 
wants  the  wrong  thing;  to  paint  as  you  see  and  feel  nature 
when  would-be  purchasers  are  recommending  to  you  all 
the  time  as  a  model  some  belated  popular  ideal  of  forty 
years  ago,  some  past  master  of  the  black  art,  "stupid  in 
bitumen  and  prejudice."  Yes,  it  is  hard;  but  it  is  just 
the  training  that  makes  men  and  develops  the  artistic 
character. 

Nor  have  these  men  been  dazzled  by  the  "clever"  things 
now  so  common  in  our  studios  and  exhibitions.  We  do  not 
find  a  trace  of  the  effort  to  "show  off"  in  their  remarkable 
canvases.  They  are  thoroughly  in  earnest  and  seem  to 
paint  because  they  like  to.  That  is  the  kind  of  art  that 
suits  us — work  done  from  pure  love  of  nature  and  for  the 
pleasure  of  doing.  With  the  delight  of  those  naif  Scan- 
dinavians, the  Indianapolis  men  have  set  themselves  to 
revealing  to  others  the  things  which  their  open  eyes  have 
found  interesting.  What  a  lesson  in  contentment  it  all  is  to 
the  rest  of  us !  We  sigh  for  the  mountains  or  the  ocean, 
forgetting  the  quiet  beauty  that  is  everywhere  about  us: 
beauty  of  sky  and  plain  and  river  and  the  autumn  gold  and 
scarlet  glories  inexpressible.  These  men  have  seen  it  all 
and  enjoyed  it,  but  better  yet  are  helping  others  to  see  and 
enjoy. 

We  have  just  pride  in  the  very  expression 
Hoosier  Group,  for  it  promulgates  a  definite  and 
local  interest  in  our  artists  and  their  representa- 
tions of  our  immediate  surroundings.  We  have 
encouraged  our  artists  to  tell  us  of  their  struggles, 
and  we  think  of  them  as  heroic.  We  have  en- 
couraged them  to  teach  in  order  that  we  may  have 
more  Indiana  artists  of  whom  to  be  proud.  We 
have  encouraged  them  to  exhibit,  that  we  may  see 
and  enjoy  their  works  of  art.    But  we  have  not 

162 


I 


THE  HOOSIER  GROUP 

reassured  them  of  our  real  interest  by  buying 
these  same  pictures  for  our  homes.  We  have 
contented  ourselves  with  photographs  or  some- 
thing worse.  If  we  have  bought,  it  has  been 
foreign  pictures  picked  up  in  our  travels,  which 
we  have  framed  in  expensive  gold-leaf  and  con- 
tentedly hung  on  our  walls  without  a  single 
thought  that  there  might  be  a  local  interest  or 
obligation. 

Are  we  to  expect  continued  creation  without 
a  definite  amount  of  appreciation?  Why  should 
our  artists  continue  to  produce  when  their  studios 
are  already  over- full?  Local  pictures  badly 
painted  cannot  be  converted  into  meritorious 
work  by  local  pride  or  good  wishes.  The  steady 
purpose  and  independence  of  the  Hoosier  Group 
has  brought  them  wide  recognition.  They  have 
never  asked  home  coddling  nor  peddled  their 
wares,  but  they  have  done  far  more  for  the  state 
in  creating  an  understanding  of  art  than  the 
state  has  in  appreciating  their  art  work. 

J.  Ottis  Adams 

J.  Ottis  Adams'  intention  from  his  earliest 
youth  was  to  be  an  artist,  though  his  father  was 
a  small-town  merchant  and  a  farmer  and  the  op- 
portunity seemed  far  in  the  future  as  he  studied 
in  the  village  school  of  Amity,  the  town  of  his 
birth.     His  elementary  education  was  received 

163 


ART  AND  ARTISTS  OF  INDIANA 

in  the  Indiana  towns  of  Franklin  and  Shelby- 
ville,  while  his  high-school  work  was  done  in  Mar- 
tinsville, after  which  he  entered  Wabash  College, 
where  he  remained  for  two  years.  He  did  not 
complete  the  course,  but  in  1898  the  college 
granted  him  the  honorary  degree  of  Master  of 
Arts  as  a  recognition  of  his  ability  as  an  artist. 

Eager  to  begin  his  study  of  art,  he  went  to 
England  in  1872,  when  scarcely  twenty-one 
years  of  age,  entering  the  famous  South  Ken- 
sington Art  School  in  London,  under  the  direct 
instruction  of  John  Parker.  He  also  spent  much 
time  copying  in  the  National  Gallery.  He  re- 
mained for  two  years  before  returning  home; 
then  joined  his  parents  and  lived  first  in  Sey- 
mour, Indiana,  later  in  Martinsville.  From 
there  he  went  to  Muncie,  Indiana,  where  he 
opened  a  studio  and  remained  from  1876  to 
1880,  during  which  time  he  painted  many  por- 
traits. In  1880  he  again  went  abroad  and  became 
a  student  in  the  art  schools  of  Munich,  Ger- 
many, where  he  studied  for  seven  years,  most  of 
the  time  in  the  Royal  Academy.  He  was  an 
active  worker  in  the  American  Artists'  Club  of 
Munich,  serving  as  its  president  for  two  years. 

Upon  Adams'  return  to  the  United  States  in 
1887  he  again  selected  Muncie  as  his  home, 
opened  a  studio,  painted  landscapes  and  por- 
traits and  taught  classes  in  art.    He  also  taught 

164 


THE  OLD  MILL  J.  OTTIS  ADAMS 

PERMANENT    COIXECTIOK    OF    J.    OTTIS    ADAMS 


J.  OTTIS  ADAMS 

in  Union  City  and  helped  to  establish  the  art 
school  of  Ft.  Wayne.  Later  he  lent  his  assist- 
ance in  establishing  the  art  school  in  connection 
with  the  John  Herron  Art  Institute  and  was 
the  leading  instructor  from  1904-1909. 

During  the  summer  season  the  artists  made 
many  sketching  tours  over  the  state,  discover- 
ing the  paintable  country.  Several  seasons  were 
spent  on  the  Mississineva  River;  then  they  went 
to  Metamora,  where  they  painted  for  a  time. 
For  a  day's  outing  they  went  over  to  Brook- 
ville,  where  they  found  the  quaintest  old  town  in 
eastern  Indiana.  Here  all  our  ancestors  tarried 
for  a  few  days  or  weeks  as  they  made  their 
pioneer  pilgrimage  into  the  promised  land.  It 
was  the  location  of  the  first  government  land 
office  in  the  state.  Many  families  remained  for 
a  year  or  longer;  here  some  of  Indiana's  promi- 
nent men  and  women  were  bom  and  spent  their 
early  youth.  Then  their  parents  moved  else- 
where and  some  other  town  claims  the  celebrity. 
There  is  a  natural  charm  about  the  old  town  with 
its  early  traditions,  its  old  houses  with  their  moss- 
covered  roofs,  the  old  mills  in  a  condition  of 
decay  that  delights  the  eye  of  every  artist  that 
sees  them  standing  in  their  tangle  of  trees,  de- 
serted by  the  people  as  well  as  the  mill-race,  once 
the  motor  power.  Two  creeks  run  on  either  side 
of  the  ridge  on  which  the  village  is  located,  the 

165 


ART  AND  ARTISTS  OF  INDIANA 

two  forks  uniting  in  Whitewater,  the  silvery- 
flood  that  is  the  swiftest  stream  in  Indiana,  hav- 
ing a  fall  in  places  of  seventy  feet  to  the  mile. 
In  the  Whitewater  valley  there  is  a  wide  variety 
of  natural  scenic  beauty  that  is  easily  accessible. 
J.  Ottis  Adams  and  T.  C.  Steele  discovered 
this  artistic  quality  one  summer.  Both  were  alike 
impressed  with  the  attractive  possibilities  of  this 
quiet  corner,  near  and  yet  sufficiently  remote 
from  the  rushing,  dusty  highway  of  life  to  yield 
them  bountifully  from  nature's  stores  of  beauty. 
Looking  between  the  hills  into  the  valley,  one 
sees  the  tower  and  spire  of  the  little  court-house 
rising  above  the  house-tops  of  the  town.  It  is 
a  scene  as  peaceful  as  the  one  portrayed  by 
Goldsmith,  "Sweet  Auburn,  loveliest  village  of 
the  plain."  On  the  borders  of  the  village,  on 
the  very  edge  of  the  stream,  so  full  of  iridescent 
reflections,  half  encircling  the  grounds,  they 
found  an  old  farmhouse,  of  which  they  became 
the  summer  occupants  and  finally,  in  1899,  the 
owners.  Later  Steele  sold  his  interest  to  Adams, 
who  made  it  his  permanent  home.  It  was  once 
known  as  the  Mills  house.  It  is  of  a  generous 
style  of  architecture,  with  wide  old  fireplaces  be- 
tokening the  wealth  and  warmth  of  the  welcome 
it  gave  to  generations  past  and  gone,  who  talked 
around  the  genial  glow  of  the  hearth  with  those 
who  never  came  too  early  or  stayed  too  late.  The 

166 


J.  OTTIS  ADAMS 

visitors  of  more  recent  years  have  been  the 
artist  friends  from  Indiana  and  Cincinnati.  The 
old  paneled  doors  have  been  painstakingly 
wrought  by  a  local  artisan.  The  low  flat  roof 
was  extended  to  shelter  two  spacious  studios,  and 
a  wide  colonial  porch  was  added  the  entire  length 
of  the  house.  From  being  merely  a  sojourning 
place  in  summer,  it  came  to  be  the  home  of  the 
Adamses  and  their  family  of  growing  sons.  It  is 
an  ideal  retreat  for  the  artist,  unique  and  inter- 
esting to  the  visitor,  who  finds  many  little  sur- 
prises in  the  nooks,  corners,  and  quaint  windows. 

The  home  was  appropriately  named  the 
"Hermitage,"  and  to  the  village  the  many  ar- 
tist friends  who  have  sojourned  there  have  con- 
tributed the  name  of  the  "Indiana  Barbizon." 
The  Whitewater  and  the  numerous  creeks  make  it 
a  broken  country  such  as  meets  an  artist's  need. 
The  hills,  beautiful  in  the  summer,  grow  richer 
and  richer  in  the  autumn,  making  the  days  efful- 
gent in  their  glory  of  mist  or  haze.  The  great 
sweep  of  space  over  river  and  beyond  the  hills, 
where  the  little  houses  nestle  and  almost  sink 
from  view,  makes  a  great  outdoor  picture  that 
delights  the  art  lover  and  friends  who  are  wont 
to  linger  as  the  guests  of  Mr.  and  Mrs.  Adams 
in  this  choice  bit  of  country. 

Mrs.  Adams  is  also  an  artist  of  ability,  signing 
herself  "Winifred  Brady  Adams."    She  studied 

167 


ART  AND  ARTISTS  OF  INDIANA 

in  the  Drexel  Institute  at  Philadelphia,  and  in 
the  Art  Students'  League  in  New  York.  She  ex- 
cels in  still-life  painting,  choosing  for  her  sub- 
jects the  flowers  of  her  own  garden,  with  some 
choice  bit  of  subdued  old  copper,  with  its  high 
light  of  fiery  color,  or  a  small  piece  of  glittering 
glass,  catching  and  reflecting  the  many  colors  of 
the  composition.  She  has  a  delightful  collection 
of  old  china,  which  she  introduces  into  her  com- 
positions with  excellent  result.  The  effect  is 
not  alone  one  of  accuracy,  but  of  subtle  beauty 
not  easily  attained ;  for  her  arrangement  of  still- 
life  is  not  intended  to  provide  an  easy  harmony 
for  the  painter's  brush.  It  is  difficult  in  its  pro- 
jection of  one  dark  tone  on  another  or  one  bril- 
liant color  in  close  proximity  to  another.  Her 
broad  use  of  color  shows  vigor  and  solidity  of 
execution  that  compels  attention.  One  of  her 
paintings,  "A  Pot  of  Poppies,"  was  exhibited  in 
the  Indiana  Building  in  the  St.  Louis  Exposition 
in  1904.  Another  painting,  "Golden  Glow,"  has 
been  shown  in  many  exhibits  and  has  been  favor- 
ably noted  by  artists.  Mrs.  Adams  takes  hearty 
interest  in  her  husband's  work  and  it  would  be 
hard  to  find  two  more  congenial  people.  She  is 
a  member  of  the  Woman's  Art  Club  of  Cin- 
cinnati and  an  associate  member  of  the  Society 
of  Western  Artists. 

Color  is  the  battle-ground  on  which  the  old 
168 


STILL-LIFE  WINIFRED   B.   ADAMS 

PERMAKEXT    COLLECTIOX    OF    J.    OTTIS    ADAMS 


J.  OTTIS  ADAMS 

school  and  the  new  school  met,  the  latter  grad- 
ually gaining  the  ascendancy,  until  the  battle 
seems  fairly  well  won  and  the  ground  aglow 
with  the  goriest  color.  Adams  handles  his  color 
with  richness  that  lends  a  certain  amount  of 
vibration.  His  pictures  rarely  lack  freshness  and 
newness ;  he  paints  with  a  distinctive  quality  and 
true  interpretation  of  the  themes  that  attract  him 
so  strongly.  The  ripple  of  color  and  iridescence 
on  the  surface  of  the  shallow  stream,  the  dazzling 
radiance  of  the  sunset  glow  reflected  on  the  quiet 
water  with  the  broken  edge  of  the  undergrowth 
beyond,  the  far-away  field,  the  sloping  hillside, 
the  willow-margined  brook,  give  a  poetic  quality 
to  his  canvases. 

As  time  went  by  he  gave  less  and  less  time 
to  portrait  work,  but  his  interest  in  the  open  has 
steadily  grown  and  his  landscapes  show  increas- 
ing mastery,  a  closer  and  truer  interpretation 
of  what  he  undertakes. 

For  several  summers  he  conducted  sketching 
classes  in  landscape  in  and  about  Brookville.  In 
recent  years  he  spends  the  summer  season  at 
Leland,  Michigan,  his  work  giving  views  of  the 
great  inland  sea.  Since  the  winter  of  1915  he 
has  gone  to  St.  Petersburg,  Florida,  where  he 
opened  a  studio  that  is  much  frequented  by  In- 
diana and  Ohio  people. 

Among  the  first  pictures  Adams  presented  for 
169 


ART  AND  ARTISTS  OF  INDIANA 

exhibition  in  Indiana  was  a  sketch  called  "The 
Wash-Day,"  made  in  Muncie  many  years  ago 
and  exhibited  frequently.  Since  then  he  has 
been  a  constant  exhibitor  in  various  cities.  He 
assisted  in  the  organization  of  the  Society  of 
Western  Artists,  and  served  as  its  president 
and  in  other  capacities  to  assure  its  success.  In 
1907  he  was  awarded  the  Fine  Arts  Building 
prize  of  $500  for  his  picture  "A  Snowy  Morn- 
ing." He  was  the  recipient  of  a  bronze  medal 
at  the  St.  Louis  Exposition  in  1904  for  his  work 
entitled  "Iridescence,"  now  owned  by  the  pub- 
lic schools  of  Terre  Haute,  Indiana.  His  pic- 
ture "The  Bracken  Farm"  is  in  the  public  schools 
of  St.  Louis,  Missouri.  There  are  many  other 
of  his  landscapes  owned  by  schools  or  libraries 
throughout  Indiana.  There  is  a  commendable 
tendency  to  place  in  the  public  schools  and 
libraries  not  only  original  pictures  but  mural 
paintings  as  an  educational  feature.  In  some 
instances  the  wide  corridors  of  the  newer  high- 
school  buildings  are  properly  lighted  and  used 
as  galleries,  and  as  the  pupils  pass  to  and  from 
their  class-rooms  they  are  brought  into  the  en- 
vironment and  under  the  influence  of  good  art. 

William  Forsyth 

The  life  and  work  of  William  Forsyth  has  been 
identified  with  the  student  art  life  from  the  be- 

170 


WILLIAM  FORSYTH 

ginning  of  art  schools  in  Indiana;  yet  it  is  im- 
possible at  this  time  to  determine  the  exact  nature 
of  the  influence  he  has  exerted  upon  the  art  of 
the  state.  With  rare  exceptions,  the  pupils 
have  not  been  imitators  of  the  master's  style ;  in- 
deed, it  would  be  hardly  possible  for  them  to 
simulate  his  manner  on  account  of  his  versatility 
in  presenting  in  his  work  from  year  to  year  new 
conceptions  of  nature. 

Forsyth  is  a  Hoosier  by  adoption,  having  been 
born  in  Ohio  not  far  from  Cincinnati.  In  his 
early  youth  his  parents  went  to  southern  In- 
diana, where  they  remained  but  a  short  time, 
removing  to  Indianapolis,  which  has  since  been 
his  home.  He  has  an  inherited  talent  for  art 
from  his  mother,  who  was  a  woman  of  splendid 
taste  and  keen  appreciation  of  the  better  things 
of  life  and  who  had  a  great  interest  in  the  fine 
arts.  Both  parents  assumed  a  kindly  attitude 
toward  the  son's  inclination  to  study  art,  and 
when  he  decorated  the  jambs  of  the  fireplace  in 
his  childish  play,  the  father  called  in  some  of  the 
neighbors  to  see  the  work  of  the  embryo  artist, 
and  this  was  his  first  public  exhibition. 

In  speaking  of  this  early  inclination,  he  said 
he  could  not  remember  the  time  when  the  desire 
was  not  with  him :  first,  his  tentative  efforts  in  a 
crude  way  alone;  then  the  wonder  of  another's 
work  and  longing  to  see  more  and  do  more ;  and 

171 


ART  AND  ARTISTS  OF  INDIANA 

finally  his  entrance  into  a  school.  His  first  at- 
tempt to  study  with  a  painter,  however,  had  been 
a  failure.  He  was  much  too  young  at  the  time, 
but  had  teased  his  father  until  he  took  him  to 
the  studio  of  B.  S.  Hays,  who  with  Jacob  Cox 
were  the  only  artists  in  Indianapolis  at  that 
period.  Hays  was  not  encouraging;  he  thought 
him  not  old  enough  to  begin,  and  besides  the 
charges  were  prohibitive.  While  the  desire  was 
held  in  abeyance,  the  thought  was  ever  dominant. 
He  had  made  the  acquaintance  of  a  live  artist, 
and  the  invitation  to  visit  his  studio  was  no 
small  privilege.  However,  he  did  not  avail  him- 
self of  the  opportunity  until  some  years  after- 
ward. 

Both  William  M.  Chase  and  John  Love  had 
been  Hays's  pupils  at  the  time  Forsyth  made  his 
acquaintance  and  had  just  left,  the  former  to  go 
with  his  family  to  St.  Louis  and  afterward  to 
New  York  and  Europe;  the  latter  to  enter 
Henry  Hosier's  studio  in  Cincinnati.  It  was 
Chase's  work  that  had  roused  in  him  the  dormant 
ambition  to  paint.  A  portrait  of  Chase's  father, 
and  some  cattle  pieces  exhibited  about  this  time, 
and  which  still  remained  in  Hays's  studio,  even 
then  possessed  something  of  the  mastery  over 
paint  and  brush  that  has  always  been  his  dis- 
tinction. It  was  the  desire  to  paint  like  this  that 
sent  Forsyth  to  visit  the  studio.     The  fire  was 

172 


THE  OLD  MARKET  WOMAN 

WILLIAM  FORSYTH 


PURCHASED  BY   FRIENDS   OF   AMERICAN    ART  FOR  THE    JOHN 
HERRON     ART    INSTITUTIOK 


WILLIAM  FORSYTH 

lighted,  and  though  it  was  years  after  before  he 
entered  a  school,  it  never  died.  He  afterward 
went  to  New  York,  where  he  visited  every  gal- 
lery that  was  open  to  the  public,  studying  the 
pictures  that  were  to  be  seen.  He  returned  home 
resolved  to  paint,  and  for  several  years  worked 
as  best  he  could  alone.  The  country  for  miles 
around  became  familiar  from  the  sketching  ex- 
peditions in  which  he  studied  without  instruction. 

In  October  of  1877  Love  and  Gookins  opened 
the  first  Indiana  School  of  Art.  These  two  men 
had  studied  abroad.  William  Forsyth  was  the 
first  pupil  to  enroll.  Here  he  studied  during  the 
two  years  the  school  continued,  until  it  failed 
for  lack  of  business  management  and  support; 
but  it  was  an  opportunity  that  opened  all  other 
doors  and  paved  the  way  for  other  art  schools. 
Forsyth  then  opened  a  studio  in  the  Ingalls 
Block.  This  was  maintained  for  a  short  period, 
when  his  opportunity  came,  aided  by  the  patron- 
age of  a  friend,  to  go  to  Europe  to  study.  He 
had  his  choice  between  Paris  and  Munich.  While 
the  former  was  a  much  less  expensive  place  to 
study,  he  chose  the  latter,  at  the  time  the  Mecca 
for  art  students.  Eastern  art  students  were 
flocking  there,  and  it  is  not  to  be  wondered  at 
that  Indiana  men,  with  less  facility  to  see  and 
study,  should  follow  the  well-beaten  path. 

Forsyth  entered  the  Royal  Academy  of  Mu- 
173 


ART  AND  ARTISTS  OF  INDIANA 

nich  in  1883,  studying  in  the  life  classes  in  black 
and  white,  under  Professor  Benczur,  later  of 
the  Royal  Academy  of  Budapest,  and  Gysis, 
and  painted  under  Loeiftz.  He  made  steady 
progress,  winning  honorable  mention  three  times 
and  a  medal  in  1885.  He  exhibited  at  the 
Munich  International  Exhibition,  where  he  sold 
two  pictures.  The  five  years  he  spent  studying 
in  Munich  were  years  of  triumph  over  difficulty, 
for  he  was  not  equipped  financially  as  he  should 
have  been,  and  self-denials  for  art's  sake  were 
often  more  frequent  than  fees;  but  fellow- 
students  were  enduring  the  same  vicissitudes, 
which  they  all  met  courageously  as  they  strug- 
gled to  know  the  best  in  art.  He  was  secretary 
for  four  years  of  the  Anglo-American  Artists' 
Club.  After  five  years  in  the  school  he  opened 
a  studio  in  Munich,  but  spent  most  of  his  time 
studying  in  the  open  country.  He  took  a  vaca- 
tion period  in  northern  Italy,  but  all  the  rest 
of  the  time  was  spent  in  Germany. 

After  seven  years  in  Europe  he  returned  to 
Indiana  to  become  identified  with  the  artistic  de- 
velopment of  the  state  and  the  West.  He  has 
since  been  an  active  factor  in  the  art  schools 
of  Indiana,  from  the  opening  of  that  first  school 
in  1877,  where  he  so  eagerly  enrolled,  through 
the  years  of  struggle  and  development  to  the 
present  school  connected  with  the  John  Herron 

174 


WILLIAM  FORSYTH 

Art  Institute,  where  he  has  long  been  an  in- 
structor. Shortly  after  his  return  he  was  asso- 
ciated with  J.  Ottis  Adams  in  art  classes  in 
Muncie  and  Ft.  Wayne  which  resulted  in  estab- 
lishing an  art  school  at  Ft.  Wayne,  that  has 
continued  through  the  years.  When  he  again 
returned  to  Indianapolis,  he  was  connected  with 
T.  C.  Steele  in  the  third  art  school,  which  was 
opened  in  the  old  Circle  Hall,  where  he  con- 
tinued as  instructor  for  six  years. 

Many  of  his  splendid  ideas  as  a  critic  were 
inspired  by  that  master  draftsman  John  Love, 
whom  he  admired  and  with  whom  he  came  in 
contact  in  his  early  life  and  who  gave  a  firm 
foundation  to  his  art  career.  Forsyth  is  pre- 
eminently a  teacher  and  the  art  schools  owe  much 
to  his  inspiration  and  spirit;  his  students  enter- 
ing other  schools  show  marked  ability,  ranking 
high,  many  of  them  capturing  the  prizes  that 
are  offered,  others  becoming  noted  illustrators  of 
the  East,  making  for  themselves  national  repu- 
tations. Few  who  have  studied  in  Indianapolis 
have  not  come  under  his  tutelage,  which,  on 
account  of  his  love  for  youth  and  teaching,  has 
been  unusually  successful. 

As  a  critic  he  has  always  been  severe.  His 
mission  is  that  of  a  teacher  par  excellence,  the 
one  of  instilling  into  his  pupils  the  spirit  of  art 
with  its  highest  meaning,  its  truest  purpose,  and 

175 


ART  AND  ARTISTS  OF  INDIANA 

respect  for  the  profession.  He  is  a  firm  believer 
in  the  local  development  of  art.  His  determined 
effort  has  been  to  create  in  Indiana  a  school  with 
sufficient  local  coloring  for  individuality.  He 
has  remained  true  to  his  ideals,  which  have  led 
him  to  success. 

Forsyth  has  sacrificed  much  of  his  own  time 
for  painting,  in  assisting  students.  His  pictures 
are  painted  with  a  vigor  and  virility  that  show 
a  love  for  nature  in  her  moods  and  a  love  for  the 
tools  of  his  art.  The  naturally  beautiful  is  good 
enough  for  him.  He  draws  infinite  pleasure  from 
the  beauty  of  his  own  neighboring  village,  the 
woods  and  creeks  near  by.  He  does  not  work  for 
detail  but  looks  for  the  broader  effect.  He  ren- 
ders the  simple  aspects  of  nature  with  accuracy, 
sympathy,  and  sincerity.  There  was  a  time  when 
he  was  considered  a  thorough  impressionist,  and 
in  consequence  understanding  and  appreciation 
of  his  work  came  slowly. 

As  an  artist  he  approaches  nature  with  all  his 
mental  energy  concentrated  on  the  attack.  He 
sees  clearly ;  has  a  finely  trained  and  pliant  tech- 
nique; and  expresses  himself  with  freedom  and 
without  groping.  He  records  the  impressions 
made  upon  his  strong  imagination  at  white  heat. 
No  storm  is  too  severe  to  endure  if  there  is  a  fact 
expressed  that  he  desires  to  record;  hence  his 
work  is  spontaneous,  vigorous,  fresh  and  pure 

176 


WILLIAM  FORSYTH 

in  color.  One  picture  may  be  but  a  prelude  to  a 
series  of  kindred  subjects  through  the  season; 
then  with  the  coming  of  another  year  he  sur- 
prises the  public  with  a  new  mood  that  has  been 
signaled  for  his  special  interpretation. 

He  puts  on  his  pigment  with  vigorous,  broad, 
firm  touches.  The  great  masses  of  his  light  and 
shade  give  a  rich  harmony  of  color  and  mark  his 
work  as  that  of  a  distinctive  colorist.  The  planes 
of  his  pictures  hold  together  with  absolute  solid- 
ity. Some  of  his  smaller  canvases  are  fine  in 
sentiment,  containing  a  soft  haze  of  coloring 
through  which  the  brilliant  light  of  sun  or  flow- 
ering tree  catches  and  holds  the  attention. 

Forsyth  paints  in  water-color  quite  as  fre- 
quently as  in  oils,  and  shows  broad  understand- 
ing of  the  use  of  this  medium.  The  simplicity 
of  treatment,  the  fine  sense  of  color,  with  bril- 
liant masses  against  the  sky,  have  that  rare  qual- 
ity which  gives  them  the  full  breadth  of  a  true 
impressionist.  Many  of  his  water-colors  are  exe- 
cuted with  delicacy,  yet  they  evince  power  in 
handling.  He  rarely  uses  body  colors,  and  this 
separates  his  work  from  most  other  water-color 
painters.  When  he  does  use  body  colors  it  is  in 
the  spirit  of  tempera.  He  has  been  a  frequent 
exhibitor  in  Boston,  New  York,  and  Philadel- 
phia. Three  of  his  paintings  were  exhibited  at 
the  Chicago  Exposition  of  1893.     He  has  re- 

177 


ART  AND  ARTISTS  OF  INDIANA 

ceived  five  international  awards;  silver  and 
bronze  medals  at  the  St.  Louis  Exposition  of 
1904;  a  bronze  medal  at  the  Buenos  Aires  Ex- 
position of  1910;  and  a  silver  medal  for  water- 
color  and  a  bronze  medal  for  oil  at  the  Panama- 
Pacifie  Exposition  of  1915.  He  won  the  Fine 
Arts  Building  prize  of  $500  in  1910,  in  the  So- 
ciety of  Western  Artists,  and  the  Foulke  prize 
at  two  different  times. 

Forsyth  has  a  definite,  initiative  character,  and 
when  he  returned  to  Indiana  it  was  with  the 
thought  of  seeking  for  the  native  beauty  of  the 
state  and  giving  expression  to  this  in  his  work. 
He  soon  found  the  picture  quality  that  he  sought 
in  southern  Indiana:  first  on  the  Muscatatuck 
River  and  at  Old  Vernon  in  Jennings  County, 
where  he  and  Steele  painted  for  several  seasons 
undisturbed.  Then  the  locality  and  scenery 
about  Corydon,  the  old  capital,  were  found  to  be 
worthy  of  the  painter's  brush,  as  well  as  many  of 
the  quaint  old  settlements  where  the  pioneers 
made  their  early  homes,  which  had  changed  but 
little  in  the  more  than  half-century  that  had  in- 
tervened. The  distant  views  along  the  Ohio 
River  at  Hanover,  in  the  valley  of  Whitewater, 
among  the  hills  of  Morgan  County,  also  proved 
to  be  of  interest  and  attractive  to  the  artist 
season  after  season. 

He  married  Miss  Alice  Atkinson,  of  Atkinson, 

178 


WILLIAM  FORSYTH 

Indiana,  one  of  his  art  students.  She  had  also 
studied  in  the  Chicago  Art  Institute  for  three 
years.  Recently  he  has  made  his  home,  in  which 
there  are  now  three  attractive  daughters,  in  the 
classical  suburb  of  Irvington.  His  studio  is  half 
hidden  by  the  shrubbery  of  the  lawn  on  one  side 
and  overlooks  the  garden  on  the  other.  Here  he 
is  in  the  midst  of  motifs  he  likes  best  and  here 
he  finds  many  of  his  subjects  at  his  very  doorway. 
Art  IS  almost  a  religion  with  Forsyth.  He 
believes  that  art  adds  very  materially  to  the  total 
of  human  happiness  for  the  artist  and  art  lover 
alike;  that  art  enters  into  the  scheme  of  things, 
not  loudly  and  insistently,  but  quietly;  yet  that 
the  labor  of  constant  effort,  unnumbered  disap- 
pointments, the  bitterness  of  defeat  is  not  un- 
mixed with  pain  to  the  artist.  The  reward,  the 
compensation  of  one  success,  furnishes  joy 
enough  to  outweigh  all  else.  No  one  but  an  artist 
can  understand  the  fascination  of  the  work  for 
the  work's  sake.  Primarily  it  is  the  longing  for 
creation,  to  translate  into  visible  form  the  feel- 
ing that  he  possesses.  He  does  not  believe  in 
coddling  art.  The  artist  is  the  voice  of  the  times 
and  speaks  for  his  fellows ;  he  is  the  spontaneous 
expression,  the  outgrowth  of  the  period,  the  sur- 
roundings, the  circumstances,  and  the  times  in 
which  he  lives.  Naturally,  if  this  expression  does 
not  receive  encouragement  in  the  form  of  art,  the 

179 


ART  AND  ARTISTS  OF  INDIANA 

emotion  will  seek  an  outlet  in  some  other  form. 
The  mere  buying  of  objects  of  art  is  an  expres- 
sion of  personal  taste  and  culture,  but  may  be 
wholly  disassociated  from  any  growth  of  art  in- 
stincts in  the  community. 

In  his  early  youth  Forsyth  made  the  chance  ac- 
quaintance of  Ruskin's  book  on  drawing,  which 
directed  him  to  nature  and  was  directly  beneficial 
to  his  first  art  struggles  alone.  He  has  an  in- 
tuitive love  for  books,  is  very  widely  read,  and 
very  versatile  in  conversation  or  as  a  lecturer. 
He  urges  young  students  with  whom  he  comes  in 
contact  to  read  and  study  the  classics,  to  know  the 
literature  of  the  day  as  a  helpful  means  for  a 
broader  art  development. 

He,  with  other  members  of  the  Hoosier  Group, 
was  instrumental  in  the  organization  of  the  So- 
ciety of  Western  Artists,  which  was  formed  to 
promulgate  an  interest  and  understanding  of 
art  in  the  Middle  West.  Through  the  eighteen 
years  of  its  organization  he  has  not  only  been  a 
constant  exhibitor  but  has  served  repeatedly  in 
every  office  in  the  society  except  treasurer. 

Through  the  magic  influence  of  one  generous 
act  inspiring  others,  there  has  been  accomplished 
in  the  Indianapolis  City  Hospital  a  plan  that  has 
marked  a  great  milestone  in  Indiana  art.  Alfred 
Burdsal  bequeathed  funds  to  erect  two  units  to 
the  city  hospital  for  persons  unable  to  pay  for 

180 


A  SUNNY  CORNER  WATERCOLOR  BY  WM.  FORSYTH 

SILVER   MEDAL,  PANAMA-PACIFIC   EXPOSITION',   1915 


WILLIAM  FORSYTH 

hospital  services.  When  the  Burdsal  units  were 
in  course  of  erection,  the  St.  Margaret's  Hos- 
pital Guild  of  St.  Paul's  Episcopal  Church  had 
its  attention  directed  to  the  scheme  of  decoration 
of  the  children's  ward  through  the  courtesy 
and  artistic  insight  of  Dr.  T.  Victor  Keene,  presi- 
dent of  the  Board  of  Health  and  an  art  collector. 
Dr.  Keene  counseled  the  Guild  to  put  one  thou- 
sand dollars  in  mural  decoration  rather  than  in 
furniture  and  appliances.  He  felt  that  as  a 
permanency  it  would  prove  of  most  worth.  In 
the  spirit  of  hearty  appreciation  of  his  wisdom 
and  kindness  and  with  the  remarkable  generosity 
of  the  Indiana  artists,  headed  by  William 
Forsyth,  the  present  splendid  mural  work  has 
resulted.  The  portraits  of  typical  Indianapolis 
children  and  the  imaginative  settings  to  clas- 
sical stories  of  childhood  form  a  unique  epoch  in 
the  aspect  of  public  buildings,  and  puts  the  mat- 
ter of  art  for  the  first  time  in  such  connection  in 
the  forefront  in  Indiana. 

The  Board  of  Health  gave  to  William 
Forsyth  the  general  supervision  of  this  work, 
which  was  heartily  entered  into  by  his  confreres 
of  the  Hoosier  Group:  T.  C.  Steele,  Otto  Stark, 
J.  Ottis  Adams,  together  with  the  younger  ar- 
tists of  the  city,  Wayman  Adams,  Clifton  A. 
Wheeler,  Martinus  Andersen,  Simon  Bans,  Carl 
Graf,  Walter  Hixon  Isnogle,  William  Scott, 

181 


ART  AND  ARTISTS  OF  INDIANA 

Emma  King,  Dorothy  Morlan,  and  Helene  Hib- 
ben.  It  has  been  the  greatest  undertaking  thus 
far  in  the  art  history  of  the  state.  These  decora- 
tive paintings  throughout  the  wards  are  on  can- 
vas, fastened  to  the  walls.  The  edges  are  bor- 
dered by  narrow  moldings  that  do  not  catch  the 
dust.  The  whole  is  as  sanitary  as  the  dreary 
cleanliness  of  the  blank  wall.  The  art  of  the 
mural  decorator  is  very  largely  the  art  for  the 
people.  These  murals  in  the  city  hospital  are  ex- 
pected to  have  therapeutic  value,  especially  in  the 
children's  ward,  where  the  work  illustrates  beau- 
tiful stories  that  all  children  have  loved  for  gen- 
erations. Every  student  of  psychology  knows 
the  calming  effect  of  a  beautiful  picture  book  and 
the  little  stories  so  oft  repeated.  The  medical 
men  and  nurses  realize  the  poverty  of  interest 
to  the  unfortunate  children  in  the  hospital  who 
must  lie  for  days  or  weeks  and  find  nothing  for 
their  wandering  gaze  but  cold  white  walls.  With 
painstaking  study,  only  restful  and  joyous  scenes 
have  been  depicted. 

One  artist,  in  explaining  his  pleasure  in  having 
a  part  in  painting  these  murals,  said;  "The  artist 
really  gets  a  chance  to  rub  elbows  with  the  public 
in  this  way.  Our  problem  is  to  give  the  best 
that  is  in  us  under  the  restriction  of  mural  paint- 
ing. We  feel  that  we  fulfil  the  mission  of  the 
artist  more  directly  in  this  sort  of  thing,  by  giv- 

182 


RICHARD  B.  GRUELLE 

ing  pleasure  through  the  knowledge  of  color 
and  form  and  visualizing  our  ideals.  We,  like 
poets,  should  be  prophets,  and  are  entitled  to 
a  hearing." 

Under  the  general  supervision  of  William 
Forsyth,  who  personally  decorated  one  ward,  the 
corps  of  local  artists  worked  out  their  ideas,  each 
expressing  himself  in  his  own  way,  as  long  as  it 
complied  with  the  limitations  of  mural  decora- 
tion, which  involve  a  close  alliance  with  archi- 
tecture in  the  subordination  of  subject,  color 
line,  spacing,  and  the  purpose  of  the  building.  It 
thus  affords  an  ideal  relationship  of  architect, 
sculptor,  and  painter  in  these  mural  decorations 
on  the  four  floors  of  the  two  units  of  this  great 
new  hospital.  The  idea  has  since  been  carried  out 
in  another  hospital  for  children  in  Massachusetts. 
The  experiment  has  proved  of  great  worth  to 
the  invalid  and  marks  an  epoch  for  Indiana  ar- 
tists, proving  their  talent  available  for  use  in 
other  public  buildings. 

Richard  B.  Gruelle 

Richard  Buckner  Gruelle  was  one  of  the  most 
marked  characters  among  the  Hoosier  painters. 
He  loved  his  art  to  such  a  degree  that  he  gave  up 
everything  else  for  it,  working  always  for  a  truer 
portrayal  of  the  many  phases  of  nature.  He  was 
born   at   Cynthiana,    Kentucky,   February   22, 

183 


ART  AND  ARTISTS  OF  INDIANA 

1851.  Six  years  later  his  parents  removed  to 
Areola,  Illinois,  and  resided  in  that  village  until 
the  youth  was  of  age.  His  first  childish  efforts 
in  drawing  consisted  mainly  of  long  lines  of 
soldiers  marching  or  in  battle;  for  at  the  time 
the  soldiers  were  making  their  way  to  the  front, 
and  the  rebellion  was  the  chief  topic  of  the  day. 
A  head  of  Washington  was  so  well  drawn  that  his 
mother  hung  it  on  the  wall  and  preserved  it  for 
many  days.  From  his  earliest  childhood  the 
dream  of  being  an  artist  had  possessed  him. 
These  aspirations  were  revealed  to  his  mother, 
who  always  encouraged  him,  for  she  too  dreamed 
dreams  and  in  her  innermost  thoughts  believed 
they  would  find  realization  in  her  son. 

At  the  age  of  twelve  or  thirteen  it  was  neces- 
sary for  young  Gruelle  to  take  up  the  task  of 
earning  a  living.  He  tried  farming  and  various 
other  tasks,  but  finally  apprenticed  himself  to 
the  village  house  and  sign-painter,  thus  gain- 
ing a  knowledge  of  how  to  mix  and  use  paints, 
even  though  of  the  crudest  kind,  and  at  the  same 
time  earning  a  little  money.  In  those  days  the 
house-painter  had  to  grind  and  mix  his  own 
colors,  which  required  not  a  little  skill.  In  this 
work  young  Gruelle  soon  excelled,  finding  favor 
with  his  employer  because  he  matched  colors  so 
perfectly.  He  spent  rainy  days  in  painting  pic- 
tures with   common  house-paint   on   pieces   of 

184 


RICHARD  B.  GRUELLE 

board,  insurance  cards,  or  whatever  was  at  hand. 
His  employer  predicted  a  future  for  him  and 
was  so  appreciative  of  his  efforts  that  even  when 
he  worked  only  part  of  a  week  he  received  a  full 
week's  pay. 

A  new  restaurant  was  opened  in  the  town, 
and  the  young  artist  was  engaged  to  paint  the 
sign.  The  proprietor  gave  him  a  copy  of  Chap- 
man's American  Drawing  Book  from  which  to 
select  a  design,  with  the  promise  to  give  him  the 
book  in  exchange  for  his  work.  This  book  con- 
tained excellent  information  on  art  and  opened 
up  a  new  world  to  the  boy  in  giving  him  the  first 
inkling  of  how  to  proceed  with  his  work.  Shortly 
afterward  further  encouragement  came  in  the  in- 
terest of  a  young  woman,  a  graduate  of  an  East- 
ern college,  who  had  made  a  study  of  painting  in 
oils  and  who,  recognizing  Gruelle's  talent,  gave 
him  her  own  materials,  paints,  brushes,  and  can- 
vas; thus  the  young  artist  came  into  possession 
of  his  first  artist's  materials.  To  him  the  "fra- 
grance of  sweet  jasmine  in  the  woods  was  not 
so  sweet  as  the  smell  of  new  canvas  and  new 
tubes  of  color." 

Another  friend,  the  village  carpenter,  told 
him  how  to  make  an  easel  and  stretchers  and 
gave  him  a  volume  on  oil-painting  translated 
from  the  French.  It  was  Bouvier's  Manual  of 
Painting,  and   Gruelle  treasured  it  for  many 

185 


ART  AND  ARTISTS  OF  INDIANA 

years.  The  old  carpenter,  with  caution  never  to 
tell,  took  his  young  friend  into  his  confidence  and 
related  how  he  had  started  out  in  his  early  man- 
hood to  be  an  artist,  but,  finding  no  encourage- 
ment, had  abandoned  the  desire  of  his  life. 

After  two  or  three  years  of  meager  effort 
young  Gruelle  became  discouraged  and  gave  it 
all  up  and  joined  an  engineering  corps  engaged 
in  making  a  survey  of  a  railroad  in  Illinois. 
While  occupied  with  this  work  he  undertook  to 
paint  the  portrait  of  the  child  of  one  of  the  con- 
tractors, and  this  led  to  his  opening  a  studio  in 
Decatur,  Illinois,  where  he  worked  for  some 
years  painting  and  teaching.  Hanging  out  his 
sign  as  a  portrait-painter,  he  began  by  drawing 
likenesses  of  his  companions  and  occasionally 
painted  a  head  from  a  photograph.  At  this  time 
he  had  never  seen  an  artist  at  work  and  knew 
nothing  of  the  methods  of  working  from  life. 
It  was  here  he  first  met  Miss  Alice  Benton,  who 
afterward  became  his  wife.  On  the  death  of  his 
father,  he  was  compelled  to  return  to  Areola  and 
look  after  his  mother  and  aged  aunt,  who  had 
devoted  her  life  to  helping  Mrs.  Gruelle  bring  up 
a  large  family.  Here  he  spent  some  five  years  in 
total  isolation. 

Unlike  many  artists,  Gruelle  was  not  brought 
into  prominence  by  an  outside  discoverer  of  his 
genius,  nor  by  reason  of  his  study  in  an  art  schooL 

186 


RICHARD  B.  GRUELLE 

The  art  critics  have  recorded  him  as  "self- 
taught."  He  himself  discovered  his  ability  to 
paint  landscapes  when  he  was  engaged  in  the 
humble  occupation  of  painting  pictures  on  iron 
safes. 

He  was  employed  by  a  Cincinnati  concern  that 
manufactures  safes  on  a  large  scale.  His  genius 
as  a  decorator  of  safes  was  appreciated  in  a  com- 
mercial way  by  his  employers,  but  it  is  related 
that  Gruelle  himself  realized  his  ability  and 
worked  hard  for  success.  He  spent  all  his  spare 
money  in  the  purchase  of  paint,  and  toiled  un- 
ceasingly until  his  work  received  recognition.  He 
quit  the  painting  of  pictures  on  safes  to  take  up 
a  line  of  painting  that  would  be  appreciated  from 
an  artistic  standpoint. 

In  1882  he  came  to  Indianapolis  to  live.  He 
gave  up  all  other  work  and  devoted  himself  to 
painting  the  scenery  in  and  around  the  city  in 
both  oil  and  water-colors.  His  paintings  of 
the  Indiana  landscapes  won  their  way  into  the 
hearts  of  the  people  and  grew  steadily  in  favor. 
He  sought  to  depict  what  he  saw  in  nature,  and 
the  strongest  appeal  to  him  was  "the  song  itself 
more  than  the  manner  or  method  of  how  it 
should  be  sung." 

A  new  impetus  was  given  to  art  not  many 
years  later  by  the  return  of  several  men  who  had 
gone  to  study  in  European  art  centers.     Gru- 

187 


ART  AND  ARTISTS  OF  INDIANA 

elle's  solitary  efforts  had  succeeded  so  well  that 
his  pictures  were  included  in  the  forthcoming 
exhibitions,  and  his  name  stands  as  one  of  the 
four  in  the  original  Hoosier  Group. 

During  the  administration  of  President  Ben- 
jamin Harrison,  Herbert  Hess,  of  Indianapolis, 
was  chief  clerk  in  the  Department  of  Justice  in 
Washington.  He  was  something  of  a  connois- 
seur and  a  warm  personal  friend  of  Gruelle. 
Through  the  influence  of  Hess,  Gruelle  spent 
several  seasons  working  in  Washington,  taking 
up  the  study  of  the  beautiful  environs  of  the 
capital.  Here  he  made  many  "delightful  color 
studies,  which  were  highly  appreciated  by  vari- 
ous Washington  artists  and  critics,"  to  quote  the 
Washington  Post,  of  September  21,  1895.  He 
became  fascinated  by  the  broad  expanse  of  the 
waters  of  the  Potomac,  and  conceived  the  idea 
that  later  took  him  to  the  Atlantic  coast  to  paint. 
He  held  a  very  successful  exhibit  in  Washington, 
where  a  number  of  sales  were  made. 

It  was  during  his  first  sojourn  in  Washington 
that  Gruelle  was  permitted  to  see  the  famous 
Walters  collection  in  Baltimore,  a  collection  of 
pictures  of  which  any  city  might  be  proud,  which 
has  reached  large  proportions  and  far-reaching 
influence.  It  was  gradually  developed  by  a  man 
who  loved  art  all  his  life.  Like  a  gardener  on 
the  silvery  side  of  life,  who  is  found  among  the 

188 


RICHARD  B.  GRUELLE 

plants  and  flowers  that  he  has  nurtured  and  seen 
grow  in  the  fullness  of  nature,  so  William 
T.  Walters  for  years  watched  the  development 
of  this  splendid  collection  and  with  loving  care 
constantly  added  to  and  weeded  out  until  one 
would  hesitate  long  before  displacing  a  single 
object.  Between  him  and  many  of  the  most 
illustrious  of  the  artists  represented,  bonds  of 
friendship  existed  which  greatly  endear  their 
works  to  him.  Walters's  house  from  attic  to 
cellar  was  a  veritable  museum.  He  had  long 
looked  for  some  sympathetic  person  to  catalogue 
his  collection. 

Gruelle  wrote  to  a  friend  in  Indianapolis  de- 
scribing some  of  these  art  treasures  and  giving 
an  interesting  account  of  his  visit.  This  was 
shown  to  J.  M.  Bowles,  who  asked  that  the  ar- 
tist write  an  article  for  the  initial  number  of 
Modern  Art,  a  magazine  he  was  about  to  bring 
before  the  public.^  The  magazine  containing  this 
article  was  incidentally  forwarded  to  William  T. 
Walters,  who  noted  the  well-written  account  of 
his  art  treasures.  Not  long  after,  Gruelle,  "en- 
thusiast, artist,  and  critic,"  as  Walters  chose  to 
designate  him,  xeceived  an  invitation  to  visit 
Walters  in  his  home  at  Mount  Vernon  Place  in 
Baltimore.     When  ^Gruelle  presented  himself, 

^Modern  Art,  after  being  published  for  a  few  months  in 
Indianapolis,  was  transplanted  to  Boston,  where  it  ranked  as  one 
of  the  foremost  artistic  publications  for  several  years. 

189 


ART  AND  ARTISTS  OF  INDIANA 

Walters  told  him  that  he  had  long  sought  for 
one  who  had  Gruelle's  power  of  word-painting, 
and  that  he  wanted  him  to  write  a  catalogue 
of  his  collection.  The  artist  protested  his 
inability  to  write,  to  which  Walters  replied: 
"Mr.  Gruelle,  I  have  been  looking  for  you  for 
twenty-five  years;  you  are  the  first  man  I  have 
found  who  could  create  word-painting  from  these 
pictures;  that  is  what  I  desire."  The  interview 
ended  by  Gruelle  being  commissioned  to  write 
the  catalogue,  for  which  service  he  was  hand- 
somely rewarded.  One  can  scarcely  call  the  de- 
lightfully artistic  book  that  resulted  a  catalogue. 
Gruelle  went  to  Baltimore,  where  he  spent 
much  time,  making  a  careful  study  of  the  col- 
lection, becoming  fairly  imbued  with  the  spirit 
of  Dupre,  Rousseau,  and  Diaz,  those  men  to 
whom  nature  had  spoken  so  directly.  He  loved 
the  work  of  Corot  and  Troyon,  who  interpreted 
the  poetry  of  outdoors  so  tenderly.  Millet,  Bre- 
ton, and  Israels,  those  who  first  painted  peasants 
and  poverty,  revealed  to  him  their  innermost 
thoughts.  The  painters  of  color  and  light  and 
great  epochs,  those  men  who  first  painted  nature 
as  they  saw  it,  all  told  him  their  story.  This  in- 
timate study  of  some  of  the  famous  masterpieces 
of  the  world  was  the  nearest  Gruelle  ever  came 
to  an  art  school  or  to  studying  under  a  master. 
With  his  clear  perception,  his  keen  observation, 

190 


RICHARD  B.  GRUELLE 

his  appreciation  and  knowledge  of  nature,  he  was 
studying  not  under  one  master  but  under  many 
masters  of  world  fame. 

A  short  biographical  sketch  of  each  of  the 
famous  painters  represented  in  the  collection  and 
a  description  of  their  special  works  in  the  gal- 
lery was  written  in  the  free,  chatty,  delightful 
manner  of  the  artist  raconteur.  In  order  to  see 
the  picture  as  Gruelle  saw  it,  a  single  descrip- 
tion is  quoted  from  "Notes:  Critical  and  Bio- 
graphical," the  choice  falling  at  random  to  No. 
25,  "The  Evening  Star"  by  Corot: 

"The  Evening  Star"  is  a  picture  of  rare  beauty.  A  clear 
sky  full  of  light,  glowing,  pale  yellowish  color  shades 
down  to  a  horizon  full  of  mystery  which  merges  into  the 
low  hills  that  form  the  distance.  Against  this  is  a  group 
of  trees,  and  houses  of  great  depth  of  color;  sharply  cut 
and  strongly  defined.  In  the  center  of  the  picture  is  a 
stream.  Along  its  bank  a  shepherd  drives  home  his  flock, 
and  in  the  near  foreground  weeds  and  grasses  grow  along 
the  water's  edge.  A  snag  of  a  dead  tree,  dark  and  sharp 
against  the  sky,  leans  across  toward  the  right.  Against  this 
tree  a  woman  is  seen  with  upturned  face  and  arms.  High 
up  in  the  luminous,  glowing  sky  is  a  single  star,  which  is 
reflected  in  the  water. 

In  this  picture  the  sentiment  of  evening  is  beautifully 
expressed  in  colors  rich  and  clear.  There  is  a  sense  of  still- 
ness that  is  a  triumph  in  itself;  you  can  almost  hear  your- 
self thinking  as  you  penetrate  its  depth.  In  the  first  glance 
at  this  canvas  one  is  liable  to  view  it  carelessly,  so  ac- 
customed are  we  to  the  more  poetic  or  generalized  treatment 
of  nature  that  is  the  essence  of  Corot's  art.  The  handling 
of  the  picture  shows  that  Corot  could  and  did  paint  with 
precision  and  sharpness  when  nature  appealed  to  him  in 
that  way.  The  quick,  incisive  touch  with  which  it  is 
painted  strikes  you  as  being  a  little  hard  as  compared 
with  his  usual  manner ;  but  you  return,  and  it  weaves  a  web 

191 


ART  AND  ARTISTS  OF  INDIANA 

about  you  whose  spell  can  never  be  broken.  When  you 
come  under  the  influence  of  the  twilight  hour,  when  a 
deathlike  mystery  seems  to  hover  over  the  entire  world, 
then  will  the  memory  of  this  picture  arise,  and  you  will  see 
this  dead  and  leafless  tree  leaning  against  the  sky,  and 
the  form  of  the  woman  with  upturned  face  and  out- 
stretched hands,  as  if  imploring  the  gods. 


The  book  was  edited  and  published  by  J.  M. 
Bowles  and  printed  by  an  Indianapolis  firm  in 

1895.  The  head-bands,  initials,  and  title-page 
were  designed  by  Bruce  Rogers.  The  edition 
consisted  of  975  copies  in  red  and  black  on 
Michallet  paper  and  six  copies  on  Whatman 
paper,  with  the  initials  rubricated  by  hand.  It 
proved  to  be  one  of  the  most  highly  prized  and 
unusual  books  published  in  America  at  that  time. 
When  the  gallery  was  opened  in  the  spring  of 

1896,  these  handsome  and  valuable  books  were 
sold  at  rates  greatly  below  the  cost  of  publica- 
tion. The  volumes  have  now  become  very  rare, 
and  have  greatly  increased  in  value.  The  success 
of  Gruelle's  catalogue  work  was  gratifying  and 
an  indication  of  his  ability,  as  the  task  was  one 
of  importance.  The  fact  that  he  was  chosen  to 
undertake  it  indicates  that  he  was  recognized  else- 
where. A  warm  friendship  sprang  up  between 
Walters  and  the  artist,  which  lasted  through  the 
lifetime  of  the  two  men.  Gruelle  paid  many  sub- 
sequent visits  to  the  Walters  family  that  were 

exceedingly  pleasant. 

192 


THE  COMMITTEE 


OTTO  STARK 


OWKED  IN  LAWRENCE,   KANSAS 


RICHARD  B.  GRUELLE 

Louis  Prang,  the  veteran  lithographer  of 
Boston,  Massachusetts,  reading  the  article  on  the 
Walters  pictures  in  Modern  Art,  came  to  In- 
dianapolis for  the  purpose  of  meeting  the  artist, 
and  the  friendship  then  formed  was  maintained 
until  Prang's  death.  During  the  season  that 
Gruelle  maintained  a  studio  in  New  York  City, 
Prang  often  climbed  the  four  flights  of  stairs  to 
pay  a  friendly  visit  and  add  another  picture  to 
his  small  collection  of  Gruelle's.  He  said  that 
Gruelle  had  the  sweetest,  purest  personality  of 
any  friend  he  had  ever  known. 

It  was  in  the  Walters'  gallery  that  Gruelle  met 
John  S.  Clark  of  the  Prang  Educational  Com- 
pany, who  first  interested  the  artist  in  the  rugged 
shores  of  the  Atlantic  coast  and  persuaded  him 
to  try  his  hand  at  painting  the  sea.  For  some 
years  Gruelle  spent  his  summers  at  Gloucester, 
an  old  fishing  town  on  Cape  Ann,  and  other 
places  along  the  coast,  producing  very  success- 
ful pictures  of  the  rock-bound  sea,  both  forceful 
and  comprehensive  in  oils  and  water-colors.  His 
largest  and  most  important  marine,  "The  Drama 
of  the  Elements,"  was  sold  when  first  exhibited 
to  A.  A.  McKain  of  Indianapolis,  who  placed  it 
in  the  Public  Library.  He  also  painted  the  sea 
in  her  gentler  moods,  and  even  the  barren,  flat, 

and  otherwise  homely  stretches  that  appealed  to 

193 


ART  AND  ARTISTS  OF  INDIANA 

him  in  a  poetic  way  and  that  he  called  "old 
ocean's  gray  and  melancholy  wastes." 

In  the  spring  of  1910  Gruelle,  with  his  family, 
removed  to  Norwalk,  Connecticut,  where  he  es- 
tablished himself  in  a  rural  home  in  the  neigh- 
borhood of  an  artist  colony.  His  pictures  were 
always  in  the  annual  September  exhibit  in  Nor- 
walk, along  with  those  of  the  summer  colony  of 
New  York  artists.  Gruelle  loved  nature  with  the 
soul  of  a  poet.  In  the  proximity  of  the  sea  he 
found  much  inspiration  and  the  portrayal  of 
these  scenes  justified  his  endeavors,  but  Indiana 
ever  called  him,  and  he  wrote  to  a  friend:  "No 
matter  where  I  may  be,  Indianapolis  is  my  home, 
the  place  where  my  heart  is."  He  came  fre- 
quently for  visits  of  long  duration. 

At  the  age  of  sixty  he  was  in  spirit  as  young 
and  as  eager  to  advance  in  his  work  as  when  he 
began  the  simplest  elements  of  his  art.  Then 
there  came  a  stroke  of  paralysis  and  a  gradual 
failing  in  health  until  his  death,  which  occurred 
in  Indianapolis,  November  8,  1914.  His  op- 
timism and  the  eagerness  to  be  helpful  to  others 
remained  with  him  during  the  tedium  of  his 
lingering  illness,  and  many  times  he  wrote  to 
his  friends :  "With  the  coming  of  the  spring  I  will 
be  myself  again";  "My  optimism  is  still  strong 
and  I  shall  soon  be  at  my  work."  In  the  spring 
before  he  died  he  wrote:  "Should  I  be  fortunate 

194 


RICHARD  B.  GRUELLE 

enough  to  recover  my  health,  so  as  to  work 
again,  I  am  sure  I  will  yet,  in  spite  of  all  ob- 
stacles, paint  something  worthy  of  my  ideals." 
Among  his  richest  endowments  were  the  power 
of  keeping  close  to  the  illusions  of  his  youth, 
his  buoyant  optimism,  and  his  large  capacity  of 
helpfulness  to  the  struggling  artist. 

In  his  own  conception  of  his  work  there  was 
always  a  certain  religious  significance,  "the 
thought  of  God's  work  expressed  on  earth 
through  man."  Gruelle  believed  in  the  gospel 
of  encouragement  and  "art  for  the  heart's  sake," 
as  he  expressed  it.  To  him  there  was  a  brother- 
hood of  art.  To  possess  talent  brings  a  sense 
of  responsibility  toward  the  younger  brother 
artist,  and  further,  to  mankind  in  general;  the 
sense  of  a  mission — "The  duty  of  carrying  the 
gospel  of  encouragement  and  uplift  to  all;  to 
awaken  a  love  and  understanding  of  the  beau- 
tiful and  pure ;  and  to  so  animate  the  impulse  of 
this  awakening  as  to  bring  its  influence  to  bear 
on  things  of  daily  experience." 

At  another  time  Gruelle  said:  "The  early 
struggles  of  art  talent  to  give  expression  to  it- 
self is  always  an  interesting  one,  and  I  regard 
Indiana  as  the  one  state  in  the  Union  as  distinct 
and  peculiar  in  this  respect.  What  is  true  in  its 
literary  accomplishments  is  true  in  art  as  it  is 
true  in  music:  when  men  become  adepts  in  their 

195 


ART  AND  ARTISTS  OF  INDIANA 

profession,  they  almost  always  forget  the  strug- 
gles out  of  which  they  evolved.  It  was  said  of 
the  late  George  Inness  that  when  he  visited  his 
early  home  an  old  friend  of  the  family  showed 
him  a  sketch  made  by  a  boy  in  the  neighborhood 
and  earnestly  desired  Mr.  Inness'  opinion  as  to 
whether  he  thought  the  boy  would  ever  make  a 
painter.  Looking  at  the  sketch  for  a  few  min- 
utes, he  said,  *That  boy  would  make  a  good 
shoemaker,  never  a  painter';  then  the  friend 
called  his  attention  to  the  signature  in  the  corner 
of  the  little  canvas,  and  to  his  surprise  he  found 
the  name  of  George  Inness.  This  is  the  story 
of  art." 

Gruelle  always  gave  encouragement.  No  one 
can  truthfully  say  he  ever  cast  a  shadow  on  the 
path  of  any  human  being  who  was  striving  to 
make  an  impress  upon  the  pages  of  life.  He 
was  known  for  his  loyalty  to  his  friends,  and 
they  were  many ;  for  he  was  a  most  lovable  char- 
acter. It  may  be  too  soon  to  estimate  the  full 
value  of  his  contribution  to  art,  but  the  fact 
that  he  won  his  way  into  the  hearts  of  many 
people  who  have  won  their  way  into  the  ranks 
of  those  who  are  known  as  "world-builders"  is 
sufficient. 

The  two  sons  of  Richard  B.  Gruelle  are  both 
art  students  in  the  truest  sense.  John,  the  elder, 
without  special  preparation  in  an  art  school,  took 

196 


LAKE  MICHIGAN  OTTO  STARK 

OWNED   BY   FRANK    C.    BALL,    MUNCIE,    INDIANA 


RICHARD  B.  GRUELLE 

up  the  work  of  newspaper  illustration,  first  with 
the  Indianapolis  Star  and  later  with  the  Cleve- 
land Press,  where  his  political  cartoons  and  his 
sketches  of  child  life  revealed  his  real  nature 
and  his  capacity  for  this  particular  line  of  work. 
While  visiting  his  parents  at  Norwalk,  Connecti- 
cut, he  submitted  two  drawings  to  the  New  York 
Herald  for  the  supplement  sheet,  and  was  the 
successful  contestant  over  two  thousand  com- 
petitors. His  "Twee  Deedle"  had  a  long  and 
successful  run,  making  it  necessary  for  him  to 
maintain  a  studio  in  New  York.  He  has  illus- 
trated many  children's  stories  for  Eastern  pub- 
lishers, besides  continuing  his  newspaper  work. 
The  younger  son,  Justin  C,  has  been  a  student 
of  the  John  Herron  Art  School  and  the  Art 
Students'  League.  He  is  now  devoting  his  time 
to  landscape-painting,  possessing  fine  working 
qualities  and  some  attainment. 

Otto  Stark 

How  often  a  small  and  apparently  inconse- 
quential incident  changes  a  life  and  leads  one  into 
a  delectable  somewhere  that  was  entirely  un- 
thought  of  before.  Otto  Stark  is  fond  of  telling 
the  incident  of  his  boyhood  that  caused  him  to 
take  up  art  as  his  life-work.  In  his  youthful  days 
Indianapolis  was  still  a  village,  with  large  open 
commons,  great  apple  orchards  in  their  prime, 

197 


ART  AND  ARTISTS  OF  INDIANA 

and  fields  of  green  pasture  through  which  creeks 
ran.  It  was  the  custom  of  each  family  to  pro- 
vide the  supply  of  milk  by  owning  the  original 
source;  likewise  it  was  the  custom  of  the  small 
boys  of  the  family  to  drive  the  cows  to  pasture 
each  morning  and  bring  them  home  at  night. 
One  such  trip  over  the  rough  ground  that  was 
on  the  way  to  and  from  the  grazing  meadow  was 
too  much,  for  young  Stark  fell  and  severely 
sprained  his  ankle.  He  had  been  working  at  the 
woodcarver's  bench  in  a  commercial  shop.  Now 
that  his  weakened  ankle  would  not  allow  of  his 
standing  at  his  work,  he  began  the  study  of 
lithography.  At  the  age  of  sixteen  he  was  ap- 
prenticed to  a  Cincinnati  lithographer  and  he 
became  a  student  of  the  night  classes  in  the  Art 
Academy.  It  is  often  from  the  grind  of  the 
tutelage  of  the  lithographer  or  the  wood-engraver 
that  youthful  aspirants  with  mysterious  yearn- 
ings and  artistic  desires  find  themselves. 

In  1879,  at  the  age  of  twenty  years,  eager  for 
greater  advantages.  Stark  went  to  New  York, 
where  he  entered  the  Art  Students'  League,  sup- 
porting himself  by  illustrating,  designing,  and 
lithography.  At  this  time  he  began  contribut- 
ing to  the  various  exhibitions  of  the  country. 
Even  though  Munich  was  the  art  center  then  in 
vogue  and  the  minds  and  hearts  of  many  young 
artists  were  irresistibly  turning  in  that  direction, 

198 


OTTO  STARK 

young  Stark  had  another  ambition.  By  dividing 
his  time  between  work  and  study,  constantly  add- 
ing to  his  knowledge  as  well  as  to  his  savings  ac- 
count, he  was  able  in  five  years'  time  to  set  sail 
for  Europe.  He  went  directly  to  Paris,  where 
he  studied  in  I'Academie  Julien,  remaining  for 
three  years,  during  which  time  he  exhibited  twice 
at  the  Salon.  It  was  under  Gustave  Boulanger, 
the  noted  painter  of  Oriental  subjects,  that  he 
acquired  that  refinement  of  expression  and  tech- 
nique that  has  been  characteristic  of  his  work. 

He  returned  to  America  in  1887,  bringing  with 
him  a  wife  and  a  little  daughter.  Work  with 
a  commercial  firm  took  him  to  Philadelphia  for 
a  couple  of  years.  He  planned  to  make  New 
York  his  permanent  home,  but  when  sorrow  en- 
tered his  family  he  decided  to  bring  his  four 
motherless  children  to  live  in  his  former  home. 
When  he  took  up  his  painting  again  it  was  but 
natural  that  child  life  should  dominate  his  work, 
and  we  catch  glimpses  of  the  children  among  the 
flowers  in  the  open  or  crossing  the  great  stretches 
of  weed-grown  field  or  even  in  a  more  intimate 
way ;  for  he  painted  them  at  their  household  tasks, 
at  meal-time  and  sleepy-time.  However  great 
the  pictures  may  be  that  are  yet  to  be  produced 
by  Stark,  this  period  of  his  work  will  always 
retain  a  strong  individuality  because  of  that  sym- 
pathetic touch  which  each  stroke  of  the  brush 

199 


ART  AND  ARTISTS  OF  INDIANA 

expressed,  love,  purpose,  and  meaning  that  is 
not  all  art  and  yet  is  the  highest  art. 

This  understanding  of  youth  has  made  him  a 
rare  teacher  of  art.  In  1899  he  became  super- 
visor of  art  in  the  Manual  Training  High  School, 
and  he  has  wielded  an  influence  that  has  meant 
a  steady  increase  of  the  art  interests  not  only  at 
the  Manual,  with  its  growth  and  many  teachers, 
but  in  the  public  schools  of  the  city.  This  train- 
ing is  in  no  sense  superficial,  for  many  of  the 
boys  have  gone  from  the  Manual  Training  High 
School  to  take  up  some  phase  of  art,  painting, 
illustrating,  or  designing,  while  others  have 
become  architects,  lithographers,  or  engravers. 
Many  of  the  girls  have  become  teachers  of  art. 
Not  only  the  cultural  side  but  the  practical  side 
of  art  is  emphasized,  and  the  thousands  of  pu- 
pils who  came  under  Stark's  influence  go  out 
into  the  world  with  a  better  understanding  of 
the  meaning  of  the  beautiful  which  has  a  direct 
effect  upon  their  lives  and  the  community  in 
which  they  live.  Once  when  the  School  Board 
asked  the  eighth-grade  pupils  to  write  essays  on 
"Why  We  Take  Pride  in  IndianapoHs,"  many 
used  the  names  of  prominent  men.  The  name 
of  James  Whitcomb  Riley  led  and  that  of  Otto 
Stark  closely  followed. 

His  influence  is  also  felt  among  his  many 
pupils  in  the  composition  classes  at  the  John 

200 


EARLY  MORNING 


OTTO  STARK 


OTTO  STARK 

tterron  Art  School.  This  school  work  requires 
long  hours  of  time,  often  reaching  far  into  the 
night — time  that  might  otherwise  be  spent  in 
painting  pictures  to  leave  to  posterity.  Is  it  a 
greater  thing  to  sacrifice  personal  ambition  and 
help  mold  plastic  young  lives,  training  them  to 
yield  an  influence  that  will  be  far-reaching  in 
the  future?  Many  nations  agree  with  the  man 
who  said:  "Art  is  the  highest  and  finest  expres- 
sion of  the  natural  life  of  all  countries,  the  na- 
tional reflection  of  the  individual  character,  a 
language  formed  anew  by  every  nation  by  rea- 
son of  its  inward  natural  forces,  and  in  accord- 
ance with  its  needs,  its  inmost  and  purest 
essence,  and  with  its  political,  social,  and  intellec- 
tual movements.  It  is  a  kind  of  necessary  mani- 
festation of  power,  and  of  the  last  highest  ar- 
tistic desires  and  moods,  as  well  as  of  the  last 
mysterious  yearnings  that  have  never  been  com- 
prehended." 

The  Indiana  educational  exhibit  sent  to  the 
Panama-Pacific  Exposition  in  1915  by  the  State 
Department  of  Public  Instruction  exploited  but 
one  phase  of  educational  work,  the  rural  con- 
solidated school,  which  carried  an  effective  mes- 
sage to  the  many  who  studied  this  work  of  the 
boys  and  girls  in  rural  districts.  Stark  was  sent 
to  San  Francisco  to  supervise  the  arrangement 
of  the  details  of  the  exhibit.    Heads  of  schools 

201 


ART  AND  ARTISTS  OF  INDIANA 

from  Canada  and  from  foreign  lands  showed 
keen  interest  in  the  plan  of  work,  for  it  carried 
a  real  message  to  the  thousands  who  compre- 
hended its  scope. 

Every  man  exj^resses  in  his  work,  whatever 
it  may  be,  his  distinguishing  characteristics;  he 
unconsciously  reveals  the  thing  that  is  significant 
of  his  own  identity.  In  the  work  of  Otto  Stark 
a  fine  judgment  in  the  selection  of  impressive  and 
interpretive  subjects  stands  out  with  individual- 
ity. He  paints  equally  well  in  oil,  in  water-color, 
and  in  pastel.  In  the  last  he  has  plowed  for  him- 
self his  own  furrow,  so  to  speak;  he  has  struck 
a  distinctive  note  full  of  charm,  developing  a 
method  in  the  use  of  a  medium  not  frequently 
seen  in  landscape  work,  in  which  there  is  the 
combined  use  of  charcoal,  water-color,  and 
colored  crayon. 

He  works  with  truth  and  feeling,  choosing  for 
his  subjects  the  illusive  brilliancy  and  large 
sweep  of  the  sky  glowing  with  color,  the  rapidly 
floating  or  dark  banks  of  clouds,  the  massed  trees 
against  the  horizon,  all  the  mistiness  and  charm 
of  the  twilight,  always  exquisite  unity  in  his 
composition,  caring  more  for  the  shifting  of 
light  and  color  than  for  the  objects  on  which  they 
play.  He  has  his  own  manner  and  his  own 
method  of  expressing  his  poems  of  mystery. 
When  the  day  begins  to  wane  and  the  heavens 

202 


OTTO  STARK 

are  ablaze  with  color,  when  the  lingering  lumi- 
nous twilight  enshrouds  everything  and  the  last 
rays  of  the  duplicated  golden  glow  have  gone, 
when  the  workmen  think  of  home  and  the  lights 
gleam  from  the  windows,  then  the  artist  instinct 
rises  to  its  height  and  Stark  worships  at  the 
shrine  of  nature  and  brings  to  us  truths  that  else 
would  be  hidden  from  our  unseeing  eyes. 

He  is  an  indefatigable  worker,  and  this  is 
the  manner  of  his  working :  One  evening  at  Lake 
Maxinkuckee,  when  the  balmy  air  was  full  of 
that  quiet  calm  that  precedes  a  storm,  we  watched 
the  charm  of  the  approaching  clouds  as  they 
drifted  from  the  north  and  cast  their  ominous 
shadows  over  the  leaden  expanse  of  gray  water. 
The  artist  quietly  slipped  from  our  midst,  and 
with  his  sketching  material  was  soon  on  the  pier 
at  the  edge  of  the  lake,  where  he  made  his  sketch 
before  the  storm  broke  in  a  hurricane-like  fury 
that  drove  all  of  us  into  the  shelter  of  the  summer 
cottage.  The  candles  were  lighted  in  the  great 
room.  We  all  gathered  around  the  long  table 
and  told  stories  to  while  away  the  tedium  of  the 
evening.  The  fierce  wind  drifted  in  at  the  tiniest 
crevice;  the  many  candles  flickered  and  nearly 
went  out ;  the  white  wax  dripped  down  the  sides 
in  stalactite  forms.  As  we  watched  it  Stark  be- 
gan taking  it  off  and  modeling  it  into  fairy-like 
images.    His  example  was  soon  followed  by  the 

203 


ART  AND  ARTISTS  OF  INDIANA 

company,  each  one  working  out  his  summer 
hobby.  Thereafter  we  made  piers  and  buoys, 
anchors,  and  boats  with  sails  full  to  the  breeze ; 
we  modeled  figures  and  flowers  and  birds  on  the 
wing,  until  the  candles  were  diverted  from  their 
original  purpose  and  the  fairy  imagery  became 
a  pleasant  pastime  during  many  long  evenings. 
Early  in  the  morning  after  the  storm,  while  the 
mood  of  the  preceding  night's  elements  still  lin- 
gered and  before  any  of  the  cottagers  were  awake, 
Stark  transferred  his  evening's  sketch  to  canvas, 
and  it  was  one  of  the  first  pictures  of  that  sum- 
mer's work  to  find  a  purchaser. 

He  brought  to  the  attention  of  the  quadruple 
family  many  wonderful  things,  until  he  became 
to  them  the  "Seeing  Eye."  The  early  morn- 
ing had  its  fascination  for  him;  with  each  dawn 
he  was  ready  to  make  his  little  journey  to  visual- 
ize the  charm  of  the  new  day.  He  would  take 
the  little  boat  moored  to  the  pier  and  row  far 
out  into  the  lake,  where  one  caught  glimpses  of 
the  horizon  through  the  trees  and  the  effect 
of  the  early  glow,  or  he  would  follow  the  "In- 
dian trail"  with  its  treacherous  passes  to  the 
very  brink  of  the  swamp,  or  visit  the  marsh 
where  the  "lady-fingers"  grew  in  their  crimson 
glory,  or  down  the  winding  north  shore  road — 
always  where  nature  was  most  attractive  and 
showed  her  subtlest  aspect.    As  he  returned  each 

204 


OTTO  STARK 

day  he  was  greeted  by  "Water  Sprite,"  "Wood 
Nymph,"  "Sweet  Violet"  (all  had  earned  an 
appellation),  or  some  other  of  the  art-loving 
family,  who  were  always  ready  to  admire  and 
criticize  as  the  sketches  were  hung  on  the  time- 
softened  brown  walls  of  the  cottage.  Stark  made 
us  feel  as  Robert  Louis  Stevenson  sang: 

The  world  is  so  full  of  a  number  of  things, 
I  am  sure  we  should  all  be  as  happy  as  Kings ! 

Each  separate  day  of  the  summer,  we  made  our 
acknowledgment  to  the  impressions  of  new 
beauty  we  were  brought  to  appreciate  in  our  im- 
mediate environment.  For  two  summers  Stark 
painted  at  Lake  Maxinkuckee,  holding  an  ex- 
hibit of  his  work  at  the  Palmer  House,  which  was 
visited  by  the  throng  of  cottagers  and  summer 
guests. 

In  1910  he  bought  a  cottage  on  North  Del- 
aware Street  and  at  once  built  an  attractive 
studio  in  the  rear,  where  he  presents  his  work  to 
the  public  and  has  his  own  work-shop.  There 
he  spends  the  interstice  of  time  that  is  left  him 
after  performing  his  duties  of  training  and  edu- 
cating the  public. 

Stark  is  fond  of  painting  on  the  grounds  of 
the  Technical  High  School  (formerly  the  ar- 
senal) and  from  the  tower  of  the  main  building. 
Looking  toward  the  west,  the  city  becomes  en- 

205 


ART  AND  ARTISTS  OF  INDIANA 

chanting  when  the  tall  buildings,  towers,  and 
smokestacks  break  the  line  of  the  horizon  and 
are  enveloped  in  the  haze  of  smoke  with  the  glow 
of  the  setting  sun  beyond.  Two  pictures  from 
this  environment  have  won  him  special  recogni- 
tion. "Sunset  Over  the  City"  was  the  only  In- 
diana canvas  exhibited  at  the  International  Ex- 
position of  Art  and  History  at  Rome  in  1911. 
"The  Arsenal  Bell,"  first  shown  in  the  eighth 
annual  exhibit  of  Indiana  artists'  work  at  the 
John  Herron  Art  Institute,  won  the  first  Hol- 
comb  prize  of  one  hundred  dollars  as  the  most 
meritorious  work  presented  by  a  resident  artist  in 
the  state.  "The  Arsenal  Bell"  was  painted  from 
the  top  of  the  old  building  in  which  it  has  been 
since  it  mustered  the  troops  to  regimental  prac- 
tice for  many  years.  The  great  bell  is  in  the  fore- 
ground, with  the  silhouette  of  a  figure  leaning 
against  the  railing  of  the  parapet  gazing  out  at 
the  dimly  lighted  sky. 

Another  picture  of  note  is  the  life-size,  full- 
length  portrait  of  General  George  Rogers 
Clark,  which  hangs  in  the  State  House.  He 
is  represented  in  middle  life  in  the  general's 
uniform  of  the  colonial  period,  with  a  long  mili- 
tary cloak  hanging  from  the  shoulders,  making 
a  very  striking  picture.  Before  painting  this 
picture  Stark  made  studies  of  the  Jarvis  and 
Jouet  portraits  of  Clark  and  sought  descriptions 

206 


OTTO  STARK 

of  him  in  the  literature  of  the  period  Indiana 
has  been  backward  in  commemorating  in  any 
manner  the  great  men  and  events  in  her  history. 
The  only  other  picture  of  General  Clark  is  of 
unknown  origin  and  authenticity.  It  belongs 
to  Vincennes  University.  The  state  is  in- 
debted to  the  Indiana  Society  of  Sons  of  the 
Revolution  for  this  painting.  The  unveiling  of 
the  portrait  occurred  at  the  annual  dinner  of  the 
Sons  at  the  Claypool  Hotel,  in  Indianapolis, 
October  19,  1914.  The  portrait  committee  con- 
sisted of  William  Allen  Wood,  Judge  Robert 
W.  McBride,  and  Charles  F.  Remy.  The  por- 
trait seems  particularly  fitting  as  a  contribution 
of  the  Sons  of  the  Revolution  to  the  centennial 
celebration  of  the  admission  of  Indiana  as  a  state, 
since  General  Clark  and  his  soldiers  were  the  only 
connection  of  Indiana  with  the  war  of  the  Revo- 
lution. 

In  1913  Stark  did  his  first  work  in  mural  paint- 
ing, when  he  completed  two  decorations  that 
reach  from  the  wainscoting  to  the  ceiling  of  the 
auditorium  of  the  new  school  building  at  Penn- 
sylvania and  Thirty-third  Streets.  The  motif 
for  one  is  morning  in  the  springtime,  when  the 
early  blossoms  are  in  their  ephemeral  glory,  while 
the  other  represents  the  rugged  strength  of  the 
hills  and  the  autumnal  coloring  of  sturdier  trees 
casting  lengthening  shadows  across  the  roadway. 

207 


ART  AND  ARTISTS  OF  INDIANA 

This  work  was  quickly  followed  by  other  murals 
in  the  City  Hospital,  where  he  gave  full  play  to 
the  joyousness  of  his  nature  and  his  understand- 
ing of  the  happiness  of  children.  In  the  dining- 
room  for  convalescing  children  he  painted  all  the 
toys  known  to  childhood  in  one  great  circus  frolic. 
It  is  almost  worth  a  child's  being  ill  to  have  one 
glimpse  of  such  fun;  and,  once  being  ill,  what 
child  could  resist  the  vigorous  vitality  of  this 
mural  by  refusing  to  grow  daily  stronger  in  an 
altogether  admirable  manner?  At  the  close  of 
the  school  year  in  1919  Stark  resigned  his  posi- 
tion as  Director  of  Art  in  Manual  Training  High 
School,  also  the  class  in  composition  at  the  John 
Herron  Art  School  in  order  to  give  his  entire 
time  to  painting. 

T.  C.  Steele 

"It  was  an  old  Gaelic  shepherd  who  said, 
*Every  morning  I  take  off  my  hat  to  the  beauty 
of  the  world.'  Like  the  shepherd  the  artist  wor- 
ships the  beauty  of  the  world ;  for  his  whole  life's 
work  is  an  endeavor  to  make  permanent  that 
which  endures  so  short  a  time.  The  hours  and 
the  seasons,  under  the  magic  of  light,  weave  and 
interweave  the  world  of  effect.  Happy  indeed 
is  the  artist  if  he  can  grasp  and  give  again  the 
beauty  and  significance  of  an  hour  in  the  change- 
able miracle  of  nature  and  make  permanent  upon 

208 


O     o 

< 


T.  C.  STEELE 

his  canvas  the  poignant  charm  of  that  which  is 
so  brief." 

This  is  the  philosophy  of  Theodore  C.  Steele, 
one  who  has  been  given  the  power  to  conserve 
in  part  the  evanescent  beauty  of  the  world,  of 
the  great  outdoors  at  whose  shrine  he  worships, 
not  only  one  hour  when  subject  and  mood  and 
light  are  at  their  highest,  but  through  the  days 
and  through  the  seasons  to  make  a  permanent 
record  of  that  ephemeral  moment  when  nature  is 
at  her  best  and  which,  as  he  says,  is  all  too  brief. 
When  he  chose  the  location  of  his  present  home 
among  the  hills  of  Brown  County,  he  found  both 
nature  and  the  inhabitants  in  a  primitive  and 
undisturbed  state  of  quietude ;  here  the  roadways 
wind  at  the  foot  of  the  gentle  slopes  of  the  un- 
dulating country  and  the  very  atmosphere  is 
filled  with  the  mist  that  lends  the  picture  quality 
to  the  surroundings. 

Steele  was  not  willing  simply  to  enjoy  the  at- 
tractive landscape,  but  in  the  midst  of  this  eternal 
charm  he  has  made  his  home.  In  1907  he  pur- 
chased a  piece  of  land  of  two  hundred  acres. 
Perhaps  it  never  had  been  or  could  be  used  for 
agricultural  purposes,  so  it  was  in  that  attractive 
state  in  which  great  trees  towered  over  the  hill- 
sides and  the  undergrowth  was  undisturbed. 
Here,  with  all  the  abandon  and  interest  of  youth, 
Steele  and  his  wife  have  built  for  themselves  a 

209 


ART  AND  ARTISTS  OF  INDIANA 

home  in  the  midst  of  a  country  abounding  in 
beautiful  picturesque  woods  and  hills  and  val- 
leys. On  a  hill  six  hundred  feet  above  the  sur- 
rounding country  they  have  built  a  bungalow 
and  studio,  which  one  approaches  by  a  winding 
roadway  outlined  by  a  row  of  varicolored  iris. 
On  the  left  is  the  vegetable-garden  and  a  hedge 
of  peonies;  to  the  right  clumps  of  shrubbery. 
Nearer  the  house  the  driveway  enters  great  per- 
golas covered  with  scandent  wistaria,  fragrant 
honeysuckle,  and  climbing  roses.  Then  the 
culmination  of  the  hill  is  reached,  an  elevation  of 
eleven  hundred  feet,  and  you  come  to  the  house, 
which  has  been  appropriately  named  the  "House 
of  the  Singing  Winds."  In  the  large  living- 
room  one  feels  a  subtle  interest  in  every  picture 
on  the  wall,  in  every  book  on  the  shelves.  In  the 
ingle-nook  is  the  ruddy  glow  and  warmth  of  a 
wood  fire.  Over  the  fireplace  Gustave  Baumann 
has  carved  the  slogan:  "Every  morning  I  take 
off  my  hat  to  the  beauty  of  the  world."  Here 
one  finds  the  pictures  and  books,  soft  old  shawls, 
and  richly  colored  rugs  that  betoken  a  long  life 
in  the  environment  of  art.  One  turns  and 
through  the  great  north  window  catches  a  first 
glimpse  of  that  marvelous  nature  that  frames  a 
constant  picture,  giving  one  a  foretaste  of  what 
is  to  be  found  in  the  immediate  neighborhood. 
Another   interesting  feature  is   the  very  large 

210 


T.  C.  STEELE 

studio  in  close  proximity — ^the  culminating  as- 
piration of  every  artist's  desire.  Here  the  sea- 
son's work  gradually  accumulates  and  the  large 
number  of  visitors  that  are  received  show  the 
appreciation  in  which  the  artist  is  held.  No  day 
is  without  its  expedition  or  some  work  accom- 
plished, until  one  is  led  to  believe  that  the  foun- 
tain of  perpetual  youth  and  eternal  energy  may 
be  found  in  the  delectable  environs  of  this  charm- 
ing estate.  There  are  wide  porches  on  every 
side  of  the  house,  which  is  on  the  apex  of  the  hill. 
The  railing  is  adjustable  so  that  it  may  be  re- 
moved at  any  point  to  free  the  view  from  ob- 
struction. 

There  are  three  studios  situated  in  different 
parts  of  the  place,  where  materials  and  canvases 
are  kept,  and  where  diversified  subjects  invite 
attention  and  where  shelter  and  outlook  in  rain 
or  snow  can  be  found.  Steele  finds  so  much 
of  interest  in  the  wooded  hills  and  pleasant  val- 
leys, deep  ravines  and  country  roadsides,  that 
he  seldom  goes  beyond  the  boundaries  of  his 
own  land  in  search  of  scenery.  From  early  spring 
till  late  December  he  lives  here,  free  from  the  in- 
terruptions or  distractions  of  the  city  life,  and 
probably  his  best  work  has  been  produced  under 
these  favorable  conditions.  The  day  is  all  too 
short  to  seize  and  record  the  transient  beauty  of 
the  land.    The  fleeting  hours,  the  transforming 

211 


ART  AND  ARTISTS  OF  INDIANA 

seasons,  bring  with  them  new  pictures  and  sug- 
gestions that  are  never  to  be  exhausted  or  de- 
pleted. 

There  is  probably  no  county  in  the  state  that 
is  crowded  so  full  of  the  picturesque  and  the 
beautiful  as  is  that  one  small  section.  Steele  was 
the  first  artist  to  settle  in  this  region,  which  has 
since  become  noted  for  its  attractiveness  to  paint- 
ers, many  of  whom  have  located  permanently  or 
spent  seasons  at  the  village  of  Nashville,  the 
county-seat  of  Brown  County. 

Theodore  Clement  Steele  was  born  in  Owen 
County,  Indiana.  Four  years  later,  his  family 
moved  to  Waveland,  Indiana,  where  he  received 
his  early  education,  which  included  some  instruc- 
tion in  drawing.  After  graduating  from  the 
Waveland  Academy  he  spent  a  short  time  in 
Cincinnati  and  Chicago,  picking  up  what  he 
could  in  the  way  of  instruction  in  painting.  He 
began  to  paint  portraits  when  he  was  meagerly 
prepared  for  this  difficult  art.  This  he  followed 
for  a  number  of  years,  locating  in  Indianapolis 
in  1873.  In  1880  it  became  possible  for  him 
to  go  to  Munich  and  take  a  regular  course  in  an 
art  school,  where  he  remained  for  five  years. 

In  the  meantime  he  had  become  interested  in 
landscape,  and  after  returning  to  Indianapolis 
his  time  was  divided  between  landscape  and  por- 
traiture.   His  portraits  include  many  of  the  most 

212 


'  t^--i 


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^S: 


:\ 


««?i^ 


T.  C.  STEELE 

eminent  men  and  women  of  the  state.  In  the  list 
may  be  mentioned  Benjamin  Harrison,  Charles 
W.  Fairbanks,  James  Whitcomb  Riley,  W.  H. 
H.  Miller,  Mrs.  May  Wright  Sewall,  Miss 
Catherine  Merrill;  five  of  the  governors  of  the 
state.  Porter,  Gray,  Matthews,  Hovey,  and 
Chase.  He  has  painted  portraits  of  professors 
and  presidents  of  the  State  University,  including 
Presidents  Bryan,  Jordan,  Swain,  and,  of  the 
older  professors,  Kirkwood,  Wiley,  and  Ballan- 
tine;  also  Dr.  Smart  of  Purdue  University  and 
Dr.  Parsons  of  the  State  Normal.  For  a  number 
of  years  Steele  gave  almost  his  entire  time  to 
portrait-painting.  Then,  as  opportunity  pre- 
sented, he  gradually  devoted  more  time  to  land- 
scape work,  in  which  he  finds  greater  delight. 
It  is  probable  that  he  is  better  known  to  the 
general  public  in  this  field  of  work,  on  account 
of  being  represented  by  his  landscapes  in  cur- 
rent exhibitions  throughout  the  country. 

After  his  return  from  foreign  study  Steele 
lived  for  a  number  of  years  in  the  old  Tinker 
homestead.  This  property  was  later  purchased 
by  the  Indianapolis  Art  Association  for  the 
permanent  location  of  the  John  Herron  Art  In- 
stitute. In  1899  he  and  J.  Ottis  Adams  pur- 
chased a  house  in  the  suburbs  of  Brookville, 
where  they  built  studios.  For  six  years  this  was 
their  summer  home,  and  here  many  of  Steele's 

213 


ART  AND  ARTISTS  OF  INDIANA 

best  pictures  were  painted.  Before  this  several 
summers  were  spent  at  Old  Vernon,  Hanover  on 
the  Ohio,  and  on  the  Muscatatuck  River,  as  well 
as  on  the  Pacific  coast. 

Steele  has  served  upon  many  important  art 
juries  at  home,  in  Chicago,  and  in  Cincinnati  as 
well  as  on  the  international  jury  for  the  accept- 
ance of  American  paintings  for  exhibition  in 
Paris  in  1900.  He  was  a  member  of  both  the  Jury 
of  Selection  and  Awards  at  the  exposition  in  1904 
at  St.  Louis  and  the  Panama-Pacific  Ex- 
position in  1915.  Early  in  1910  there  was  a 
retrospective  exhibit  of  his  paintings,  showing 
about  seventy  canvases,  covering  the  entire  range 
of  his  work  from  1873  to  date.  It  marked  his 
development  through  the  different  periods  and 
showed  how  he  has  been  influenced  by  his  en- 
vironment and  the  epitome  of  the  trend  of  con- 
temporary art.  His  work  is  to  be  found  in  the 
permanent  collection  of  many  museums. 

In  1898  Wabash  College  conferred  upon  T. 
C.  Steele  the  honorary  degree  of  Master  of  Arts 
and  at  the  commencement  exercises  of  the  State 
University,  June  20,  1916,  a  worthy  tribute  was 
paid  to  the  high  esteem  in  which  he  is  held  by 
the  people  of  Indiana  as  an  artist,  a  citizen,  and 
a  gentleman  of  fine  scholarly  tastes  by  confer- 
ring on  him  the  honorary  degree  of  Doctor  of 
Laws. 

214 


T.  C.  STEELE 

The  international  jury  of  the  American  Fed- 
eration of  Arts  asked  the  privilege  of  includ- 
ing works  by  Steele  in  their  exhibitions  which 
are  sent  throughout  the  country.  The  name  of 
Theodore  C.  Steele  was  presented  by  Gardner 
Symons  to  the  National  Academy  of  Design 
for  membership  as  an  "Associate"  at  the  annual 
meeting  in  New  York  City  in  April,  1913.  Ben 
Foster  said  he  received  the  first  applause  for  any 
speech  he  ever  made  in  his  life  in  eulogizing 
Steele's  paintings.  There  were  thirteen  other 
names  presented  at  the  same  time,  and  Steele 
was  elected  an  A.  N.  A.  by  the  highest  vote  ac- 
corded any  of  the  candidates,  with  the  single  ex- 
ception of  Ralph  A.  Blakelock,  who  was  unani- 
mously elected.  To  qualify,  every  member  must 
present  the  Academy  with  his  own  portrait  in  oil 
colors,  to  be  preserved  in  the  gallery  of  that  in- 
stitution. To  comply  with  this  unalterable  law, 
Steele  went  to  Boston  to  have  his  portrait  paint- 
ed by  Frank  H.  Tompkins.  There  was  some 
discussion  between  the  two  artists  over  the  pose, 
which  ended  by  the  painting  of  two  portraits,  one 
full  face  and  the  other  in  profile.  One  was  re- 
tained, and  the  other  sent  to  the  gallery  that 
contains  the  most  famous  permanent  collection 
of  portraits  in  America. 

With  the  first  appearance  of  spring,  Steele's 
winter  sojourn  in  the  city  is  quickly  ended  and 

215 


ART  AND  ARTISTS  OF  INDIANA 

he  returns  to  the  country  to  watch  the  develop- 
ment of  the  season  from  beginning  to  fruition, 
living  close  to  nature  in  all  her  changing  aspects 
and  her  infinite  variety  of  moods,  and  analyzing 
the  opalescent  tones  and  colorful  haze  of  the  at- 
mosphere that  lingers  over  the  hills. 

His  work  shows  the  artist's  sympathy  and  tech- 
nical grasp  of  his  subjects  and  a  comprehension 
of  the  majestic  aspects  of  nature.  He  produces 
the  effect  desired  with  a  freedom  and  apparent 
facility  that  seem  to  be  the  result  of  most  perfect 
accord  with  his  subject  and  a  skill  disdainful 
of  all  difficulties  in  landscape-painting. 

Steele's  self-instruction  outweighs  in  vast  pro- 
portion all  he  has  received  from  others.  He  has 
not  ceased  to  grow  with  the  years.  Each  season's 
exhibition  of  his  work  shows  a  constant  advance, 
a  keener  appreciation,  a  greater  love  for  and  a 
better  understanding  of  that  country  where  he 
takes  off  his  hat  to  the  beauty  of  the  world. 
Tolstoy  has  said:  "If  one  has  a  marvelous  experi- 
ence in  life  or  comes  in  contact  with  nature  in 
one  of  her  sublimer  moods,  we  feel  we  must 
give  it  to  others;  if  we  succeed  we  are  artists."  It 
is  the  particular  faculty  of  presenting  nature  to 
us  in  the  sublimer  moods  and  making  us  feel 
the  vast  expanse  of  beauty  by  which  we  are  sur- 
rounded that  is  the  particular  charm  of  Steele's 
pictures.  They  present  a  sympathetic  and  single- 

216 


T.  C.  STEELE 

minded  understanding  of  nature,  with  much  feel- 
ing for  the  influence  of  light  and  atmosphere. 

The  roadway  winding  down  the  hill,  with  its 
six-foot  border  of  blooming  shrubs  and  flowers, 
is  the  result  of  the  artistic  planning  of  Mrs. 
Steele.  Departing  guests  pause  at  the  gateway, 
loath  to  leave  the  delightful  atmosphere  and 
generous  hospitality  of  the  ''House  of  the  Sing- 
ing Winds." 


217 


IX.  THE  ART  ASSOCIATION  OF  IN- 
DIANAPOLIS AND  THE  SOCIETY 
OF  WESTERN  ARTISTS 

THERE  was  one  woman,  long  a  resident  of 
Indianapolis,  who  was  always  eager  for  the 
promotion  of  higher  and  better  things  for  her 
home  city,  whose  name  will  ever  be  connected 
with  the  origin  of  the  Art  Association.  May 
Wright  Sewall  was  a  woman  of  exalted  ideals, 
broad  vision,  and  untiring  enthusiasm.  She  was 
instrumental  in  bringing  to  Indianapolis  many 
of  the  best  lecturers  on  various  subjects  and  as- 
sisted in  establishing  many  permanent  innova- 
tions. 

To  further  the  art  interests  of  the  city,  Mrs. 
Sewall  invited  Mrs.  Nancy  H.  Adsit  of  Mil- 
waukee, Wisconsin,  to  give  a  series  of  illustrated 
lectures  on  ceramics  in  the  winter  of  1881 ;  again 
in  1882  she  lectured  on  engravings  and  etchings. 
On  the  occasion  of  the  last  lecture  Mrs.  Sewall 
invited  those  interested  to  meet  in  her  parlor  to 
discuss  the  desirability  and  the  feasibility  of  or- 
ganizing a  society  for  the  study  and  promotion 
of  art.  The  proposition  received  a  cordial  re- 
sponse.   At  the  first  meeting  a  committee  of  ten 

218 


THE  ART  ASSOCIATION 

was  elected  from  the  number  present  to  draw  up 
a  constitution  and  a  plan  of  work.  This  de- 
cemvirate  held  ten  meetings,  and  the  result  of  its 
deliberations  was  a  constitution  that  was  adopted 
at  a  public  meeting,  May  7,  1883,  at  the  Denison 
Hotel,  to  which  all  art-loving  people  resident 
in  Indianapolis  were  invited.  At  that  meeting 
officers  were  elected  as  follows:  Albert  E. 
Fletcher,  president;  Mrs.  Mary  Sharpe  Moore, 
Mrs.  Laurel  Locke  Fletcher,  and  Mrs.  Mary 
Sanders  Judah,  vice-presidents;  Mrs.  May 
Wright  Sewall,  recording  secretary;  Anna  Dun- 
lap,  treasurer;  H.  B.  Palmer,  corresponding 
secretary.  The  directors  were  Mrs.  Esther  M. 
Bradshaw,  the  Rev.  N.  A.  Hyde,  Thomas  E. 
Hibben,  Dr.  Henry  Jameson,  Sue  M.  Ketcham, 
Mrs.  Mary  A.  Pratt,  and  Belle  M.  Sharpe. 

It  was  the  ambition  of  the  newly  formed  asso- 
ciation to  include  producers  as  well  as  appre- 
ciators  of  art.  The  working  members  were 
divided  into  three  groups :  the  colorists  under  the 
direction  of  Thomas  E.  Hibben;  the  etchers  un- 
der Mrs.  Mary  A.  Pratt ;  the  students  under  the 
supervision  of  Belle  M.  Sharpe. 

Realizing  the  first  requisite  to  be  good  ex- 
hibits, Sue  M.  Ketcham  was  sent  to  New  York 
City  to  secure  the  best  available  pictures  for  an 
exhibition,  which  was  held  in  the  English  Hotel 
block  for  three  weeks  during  November,  1883. 

219 


ART  AND  ARTISTS  OF  INDIANA 

It  contained  four  hundred  and  fifty-three  paint- 
ings, the  work  of  one  hundred  and  thirty-seven 
Eastern  artists.  The  first  picture  owned  by  the 
Art  Association  was  purchased  from  this  collec- 
tion, "Running  for  Anchorage,"  by  Harry 
Chase.  "An  Anxious  Mother"  by  Percival  De 
Luce  was  presented  to  the  association  by  the 
Girls'  Classical  School. 

The  unusual  interest  shown  in  this  exhibition 
developed  the  idea  and  plan  on  the  part  of  the 
board  of  directors  to  provide  a  local  means  for 
art  instruction.  A  school  was  opened  early  in 
the  following  year,^  and  the  heavy  expense  con- 
nected with  its  maintenance  precluded  an  ex- 
hibition in  1884.  With  this  exception  there  has 
been  continuous  annual  exhibition  of  paintings  as 
well  as  minor  exhibitions  of  etchings,  drawings, 
pottery,  woodcarving,  Oriental  draperies,  and 
such  things  as  were  available  from  time  to  time. 

Lectures  and  art  talks  have  continued  with 
more  or  less  regularity.  For  the  first  twelve 
years  the  entire  financial  resources  of  the  asso- 
ciation were  limited  to  the  membership  fees,^  and 
the  small  amount  realized  from  exhibits.  For 
a  period  of  time  monthly  meetings  were  ar- 
ranged at  which  papers  were  presented  on  the 
history  of  art,  artists,  and  correlated  topics  by 

*  For  further  reference  see  "Art  Schools." 

*  Annual  dues  are  ten  dollars. 

220 


THE  ART  ASSOCIATION 

the  members,  which  continued  until  1887.  There 
was  a  course  of  lectures  in  1885  on  "The  Mas- 
terpieces of  Michelangelo  and  Raphael"  by  Dr. 
William  F.  Harris,  followed  by  an  interval  of 
five  years  without  a  lecture.  In  1890  they  were 
again  resumed,  at  first  with  a  single  art  lecture 
for  the  winter. 

There  were  two  formal  meetings  each  year, 
the  one  known  as  the  president's  reception,  the 
other  the  annual  business  meeting.  For  many 
years  distinguished  guests  were  few.  In  the  win- 
ter of  1890  the  sculptor  Harriet  G.  Hosmer 
was  a  guest,  and  at  the  president's  reception  in 
1897  Miss  Hosmer  and  also  the  Countess  di 
Brazza  were  present.  At  this  time  the  plaster 
cast  of  the  "Browning  Hands"  was  presented  to 
the  association  by  the  artist.  Miss  Hosmer.^ 

The  first  exhibit  of  Indiana  artists  consisted 
of  seventy-one  pictures  and  was  held  in  1885 
by  "Ye  Hoosier  Colony,"  the  members  of  which 
had  but  recently  returned  from  studying  in 
Munich.  This  was  held  in  the  Old  Plymouth 
Church,  located  at  the  northwest  corner  of  the 
Circle  and  Market  Street.    This  exhibit  included 

^Harriet  Hosmer  was  spending  some  months  with  a  relative, 
Mrs.  Fuller,  in  Terre  Haute.  Here  she  had  a  very  private  room 
where  no  one  was  admitted,  in  which  she  spent  hours  in  seclusion. 
She  was  very  peculiar  in  appearance,  dressed  outlandishly  and 
was  extremely  offhand  and  independent,  all  of  which  created  more 
or  less  curiosity.  It  was  discovered  later  that  she  was  making  an 
intensive  study  of  perpetual  motion. 

221 


ART  AND  ARTISTS  OF  INDIANA 

only  the  work  of  William  Forsyth  and  T.  C. 
Steele.  The  catalogue  was  illustrated  with  etch- 
ings from  the  originals  in  the  exhibit  by  mem- 
bers of  the  Bohe  Club/  It  was  the  first  and 
only  catalogue  issued  by  the  Art  Association 
illustrated  in  this  manner.  In  1894  a  purely 
Indiana  exhibit  was  held  in  rooms  in  the  Deni- 
son  Hotel,  showing  the  work  of  William  Forsyth, 
Richard  B.  Gruelle,  Otto  Stark,  and  T.  C.  Steele. 
From  this  exhibition  sprang  the  special  desig- 
nation Hoosier  Group. 

The  annual  exhibitions  of  the  Art  Association 
in  the  following  twenty  years  were  worthy  ex- 
amples of  the  best  art  in  America.  They  were 
held  in  whatever  place  seemed  most  suitable  and 
available.  The  Masonic  Hall  was  used  on  vari- 
ous occasions;  in  1888  a  storeroom  at  33  South 
Meridian  Street  was  the  location;  then  a  room 
on  North  Pennsylvania  Street  served  the  pur- 
pose. Smaller  exhibits  were  held  in  the  residences 
of  the  untiring  and  energetic  members. 

From  1883  to  1890  the  board  of  directors  held 
their  monthly  meetings  at  private  houses,  usually 
at  the  residence  of  the  president,  while  the  annual 
meetings  of  the  association  generally  convened 
at  the  Denison  Hotel.  From  1890  to  1896  the 
meetings  of  the  board  of  directors  were  held  in 

» Charles    L.    McDonald,    T.    C.    Hibben,    F.    A.    Hetherington, 
William  Forsyth,  and  Charles  A.  Nicoli. 

222 


THE  ART  ASSOCIATION 

the  Columbia  Club,  where  for  the  same  period 
of  time  the  pictures  were  hung  that  were  owned 
by  the  Art  Association.  In  October  of  1896 
the  general  and  special  meetings  of  the  Art  Asso- 
ciation were  held  in  the  Propylgeum,  which  re- 
mained the  headquarters  for  the  association  until 
the  purchase  of  the  Talbott  place  and  the  open- 
ing of  the  old  homestead  as  a  museum. 

In  1895  the  association  received  a  great  im- 
petus through  being  made  the  residuary  legatee 
of  the  estate  of  the  late  John  Herron,  by  whose 
will  property  amounting  to  something  over  two 
hundred  thousand  dollars  was  bequeathed  to  the 
Art  Association.  John  Herron  was  an  Eng- 
lishman by  birth,  who  was  brought  to  America  in 
his  infancy,  and  was  reared  in  Chester  County, 
Pennsylvania.  Later  he  removed  to  Indiana, 
and  lived  on  a  farm  in  Franklin  County.  The 
last  twelve  years  of  his  life  were  spent  in  In- 
dianapolis, where  he  invested  in  real  estate.  The 
money  was  left  to  establish  an  art  museum  and 
school,  which  obligation  the  Art  Association  has 
fulfilled.  Out  of  this  fund  the  Talbott  place  at 
Sixteenth  and  Pennsylvania  Streets  was  bought 
at  an  expense  of  fifty  thousand  dollars.  A  mu- 
seum and  art  school  was  opened  in  January, 
1902,  in  the  old  homestead  on  the  property.  In 
the  spring  of  1905  this  building  was  removed  and 

223 


ART  AND  ARTISTS  OF  INDIANA 

the  present  museum  erected;  this  was  dedicated 
November  20,  1906. 

This  marked  the  begimiing  of  larger  and  more 
frequent  exhibits,  making  the  institution  vital 
to  the  life  of  the  entire  city.  With  the  building 
of  the  new  museum  there  was  a  well-organized 
effort  to  reach  every  class  of  citizen,  that  he 
might  find  encouragement  there  for  bettering  his 
work.  An  effort  has  been  made  to  keep  the 
museum  an  esthetic  place  to  house  the  beautiful 
examples  of  art  of  preceding  ages ;  to  make  it  an 
educational  place  where  inspiration  may  be 
gained  to  make  our  industries  more  artistic;  to 
make  it  a  place  of  inspiration  and  culture  where 
the  true  art  lover  may  exercise  his  intelligent 
appreciation  and  find  uplift.  The  effect  in  broad- 
ening the  tastes  of  the  people  and  inculcating 
appreciation  of  the  beautiful  have  been  most 
marked.  The  appeal  of  the  Art  Institute  is 
not  primarily  to  artists.  There  are  exhibits  of 
household  wares,  furniture,  embroidery,  laces, 
etc.,  of  interest  to  all  home-makers.  To  possess 
a  discerning  taste  in  pictures  or  sculpture  is 
desirable  and  highly  important;  to  be  able  to 
choose  home  furnishings  that  are  beautiful  and 
not  necessarily  expensive  is  exceedingly  useful 
knowledge.  The  Art  Institute  encourages  both 
acquirements.  Moreover,  it  performs  commend- 
able service  in  aiding  young  artists  whose  abili- 

224 


MEMORIAL  TABLET  TO  JOHN  HERRON 

KARL  BITTER 


THE  ART  ASSOCIATION 

ties  might  otherwise  be  overlooked  through  a 
long  period  of  years. 

The  institute  has  made  a  steady  growth  in  all 
its  departments,  broadening  its  scope  and  ex- 
tending its  usefulness.  Already  the  museum  and 
school  have  outgrown  their  respective  buildings. 
The  present  museum  building  is  only  a  unit 
of  the  original  plan,  which  it  was  necessary  to 
curtail  on  account  of  lack  of  funds. 

In  1908  began  a  series  of  exhibitions  known 
as  the  Annual  Exhibition  of  Works  by  Indiana 
Artists.  This  includes  not  only  painting  but 
sculpture  and  the  apphed  arts.  All  work  is  sub- 
ject to  the  approval  of  a  jury  conmiittee  elected 
by  a  vote  of  the  exhibitors  of  the  previous  year. 
In  the  spring  exhibition  of  1915  J.  Irving  Hol- 
comb  offered  a  gold  medal,  to  be  known  as  the 
"Holcomb  Prize,"  which  was  afterward  changed 
to  consist  of  one  hundred  dollars,  to  be  awarded 
for  a  painting  of  special  excellence  in  the  annual 
exhibition  to  artists  resident  in  Indiana.  The 
Art  Association  offers  another  prize  of  equal 
amount  for  a  painting  by  an  artist  not  repre- 
sented in  the  museum's  permanent  collection. 
The  jury  recommends  in  the  order  of  preference 
the  best  three  paintings  from  those  eligible  for 
this  prize.  To  one  of  these  the  Fine  Arts  Com- 
mittee awards  the  prize  and  the  painting  be- 
comes the  property  of  the  Art  Association.  Hon- 

225 


ART  AND  ARTISTS  OF  INDIANA 

orable  mention  is  given  to  each  of  the  other 
paintings  selected.  Each  year  has  shown  a  grati- 
fying growth  and  a  decided  step  forward  over 
the  preceding  year  in  the  number  of  exhibitors, 
in  the  variety  of  subjects,  and  in  the  manner  of 
handling  the  work  presented  by  the  Indiana  ar- 
tists. 

When  the  Art  Association  moved  intoi  the 
Talbott  homestead  it  became  necessary  to  have 
regular  attendants.  Anna  Turrell,  a  niece  of  the 
benefactor,  was  selected  curator  in  February, 
1902.  She  had  the  entire  management  of  the 
museum  until  it  was  deemed  necessary  to  have 
a  director;  then,  when  the  library  was  estab- 
lished, she  was  made  librarian. 

The  increasing  growth  and  interest  in  the 
museum  soon  demanded  more  assistance,  and 
William  Henry  Fox  became  managing  director 
April  1,  1905,  which  position  he  occupied  until 
July,  1910.  He  resigned  to  accept  the  assistant 
commissionership  for  the  United  States  at  the 
International  Exposition  in  Rome.  After  a 
short  interval  Milton  Matter  served  as  acting 
director  for  a  few  months.  On  May  1,  1912, 
Frederick  Allen  Whiting  of  Boston  became  di- 
rector, which  position  he  resigned  after  one  year 
of  successful  work  to  accept  another  of  similar 
nature  in  Cleveland,  Ohio.  The  position  was 
then  filled  by  the  appointment  of  Harold  Haven 

226 


THE  ART  ASSOCIATION 

Brown,  who  is  director  not  only  of  the  museum 
but  of  the  art  school.  In  1909  William  Cough- 
len  was  elected  as  secretary  of  the  association 
and  took  up  active  duties  at  the  museum;  in 
the  intervals  when  the  institute  has  been  without 
a  director  he  has  assumed  the  work  of  the  director 
of  the  museum  as  well  as  of  the  school.  He 
resigned  in  April,  1920. 

The  presidents  of  the  Art  Association  of  In- 
dianapolis have  been : 

Albert  E.  Fletcher,  1883— resigned. 

Nathaniel  A.  Hyde,  1883—1893. 

May  Wright  Sewall,  1893—1898. 

Hugh  H.  Hanna,  1898—1904. 

India  C.  Harris,  1904—1907. 

Evans  Woollen,  1907— 

In  1896,  while  the  influence  of  the  Columbian 
Exposition  was  still  to  be  felt  throughout  the 
Middle  West,  a  self-constituted  body  of  the  more 
prominent  artists  of  Indianapolis,  Cincinnati, 
Chicago,  and  St.  Louis,  with  a  few  men  from 
Detroit  and  Cleveland,  met  formally  in  Chicago 
and  organized  the  Society  of  Western  Artists 
**for  the  purpose  of  uniting  artists  in  fellowship 
and  of  combining  their  efforts  in  the  advance- 
ment of  art."  The  Indiana  artists  prominent  in 
this  organization  were  J.  Ottis  Adams,  J.  E. 
Bundy,  William  Forsyth,  Otto  Stark,  T.  C. 
Steele,  and  later  Clifton  A.  Wheeler— all  of 

227 


ART  AND  ARTISTS  OF  INDIANA 

whom  have  filled  the  various  offices  of  the  so- 
ciety, lending  their  aid  from  the  first  to  the  gen- 
eral success  of  the  undertaking. 

The  society  was  organized  in  chapters  repre- 
senting various  cities  of  the  West  and  their  cor- 
responding districts,  including  Indianapolis, 
Chicago,  St.  Louis,  and  Cincinnati,  artists  liv- 
ing in  outlying  districts  being  affiliated  through 
the  various  cities.  It  sprang  into  being  at  an 
opportune  moment  when  the  eyes  of  the  world 
had  been  centered  on  the  exposition  at  Chicago, 
which  induced  a  realization  that  there  was  a 
Western  art  and  afforded  a  splendid  opportunity 
for  creating  American  appreciation  and  enjoy- 
ment of  Western  creative  ability. 

Among  the  artists  exhibiting  from  year  to 
year  are  many  who  have  already  won  their 
laurels  and  are  recognized  exhibitors  in  the  East- 
ern galleries  and  others  who  are  working  to  gain 
that  recognition.  The  society  has  done  much 
to  widen  the  horizon  not  only  of  the  artist  but 
of  an  appreciation  and  sentiment  on  the  part 
of  the  Western  public,  who  look  forward  to  the 
"show"  as  to  an  annual  event,  eager  to  see  what 
some  favorite  artist  has  produced  in  the  preced- 
mg  year  and  to  note  the  extent  of  his  recent  de- 
velopment. 

There  is  a  provision  for  associate  members 
which  permits  the  work  of  the  younger  artists 

228 


THE  ART  ASSOCIATION 

to  be  included  in  the  annual  exhibition;  in  this 
list  have  been  shown  canvases  by  the  following 
artists  from  Indiana:  R.  B.  Gruelle,  Jessie 
Hamilton,  Agnes  Hamilton,  Howard  M.  Coots, 
Estelle  Peel  Izor,  Winifred  Adams,  Dorothy 
Morlan,  Roy  Trobaugh,  Emma  B.  King,  Lucy 
Taggart,  Martinus  Andersen,  Carl  Graf,  Laura 
Fry,  Leon  A.  Makielski,  and  others.  It  is  a 
means  of  bringing  before  the  public  and  intro- 
ducing a  host  of  young  artists  who  have  been 
trained  in  the  excellent  art  schools  of  the  West, 
often  followed  by  study  in  Europe.  This  brings 
into  the  exhibits  new  canvases  that  show  serious 
expression  of  fresh  and  interesting  artistic  per- 
sonalities. This  wide  variety  and  freedom  really 
represents,  in  a  way,  the  deep  interest  in  artistic 
expression  that  is  so  rapidly  growing  in  the  West. 
Being  an  itinerant  exhibition,  its  display  affords 
admirable  opportunity  for  the  work  to  be  studied 
by  a  large  circle  of  interested  devotees. 

In  1906  there  was  inaugurated  the  "Fine  Arts 
Building  Prize"  of  five  hundred  dollars,  an 
annual  gift  of  the  corporation  of  the  Fine  Arts 
Building  of  Chicago.  An  interesting  phase  of 
every  annual  exhibition  has  been  the  very  strong 
showing  made  by  the  Indiana  artists.  They 
display  a  large  number  of  paintings  character- 
ized by  quality  and  atmosphere  that  gives  a  dis- 
tinctive note  to  their  work. 

229 


X.      ART     SCHOOLS    AND    FORMER 
PUPILS 

THE  earliest  organized  art  school  in  Indiana 
was  that  opened  in  Indianapolis  in  October, 
1877,  and  known  as  the  Indiana  School  of  Art. 
It  flourished  for  a  short  period  and  came  to  an 
untimely  end  in  November,  1879.  In  1884,  the 
year  following  the  organization  of  the  Art  Asso- 
ciation, an  effort  was  made  by  that  organization 
to  establish  an  art  school,  "for  instruction  in  the 
various  branches  of  art."  This  school  was  opened 
January  10,  1884,  in  one  of  the  parlors  of  the 
Denison  Hotel.  Later  the  school  occupied  rooms 
in  the  old  Plymouth  Church  on  the  west  side  of 
Meridian  Street,  near  Ohio.  Sue  Ketcham  was 
appointed  by  the  board  to  find  an  instructor  for 
the  school.  She  went  to  Chicago  to  consult  John 
H.  Vanderpoel  and  Alexander  Schilling,  and 
upon  their  recommendations  Charles  L.  McDon- 
ald ^  was  secured.  He  was  young  and  full  of  en- 
thusiasm for  his  work.  He  came  to  Indianapolis 
on  Monday  night  and  taught  Tuesday  and  Wed- 

*  Charles  L.  McDonald  has  long  lived  in  Washington,  D.  C. 
He  was  a  successful  portrait-painter  until  he  met  with  an  accident 
that  disabled  him  for  life. 

230 


ART  SCHOOLS 

nesday,  returning  to  Chicago  for  the  remainder 
of  the  week.  Miss  Ketcham  also  taught  in  the 
school.  Thirty  or  more  eager,  earnest  students 
were  enrolled.  There  was  no  standard  of  admis- 
sion; beginners  were  welcome  as  well  as  those 
with  some  attainment.  All  began  drawing  from 
the  cast  in  charcoal. 

Among  the  students  were  Lily  Stevenson, 
Mary  Y.  Robinson,  Ada  Comingor,  Emma  B. 
King,  and  Harry  Williamson.  The  youngest 
student  was  Florence  Haywood,  probably  about 
seven  years  old.  She  came  every  lesson  day 
with  her  mother  for  a  twenty-minute  lesson,  on 
the  advice  of  her  uncle,  Walter  Shirlaw/ 

The  business  management  of  the  school  was 
assigned  to  a  committee  of  directors  consisting 
of  Anna  Dunlap,  Henry  S.  Fraser,  and  May 
Wright  Sewall.  The  teachers  were  efficient  and 
devoted,  the  business  management  hopeful  and 
untiring;  but,  sans  endowment,  sans  material, 
sans  proper  quarters,  it  was  found  advisable  to 
close  the  school  after  two  years  of  continued 
effort. 

At  the  close  of  this  school  Sue  Ketcham  spent 
two  and  a  half  years  in  Europe,  studying  music 

*  For  a  number  of  years  now  Florence  Haywood  has  lived  in 
Paris  with  her  mother,  acting  as  guide  in  the  Louvre.  She  has 
published  a  book  on  the  great  paintings  there,  which  was  au- 
thorized by  the  French  Government,  and  is  the  only  book  sold 
in  that  museum. 

231 


ART  AND  ARTISTS  OF  INDIANA 

and  art.  Many  months  were  spent  at  Montreux, 
on  Lake  Geneva,  Switzerland,  where  her  art 
study  really  began  under  the  direction  of  profi- 
cient teachers.  When  she  returned  to  America 
she  soon  found  her  way  to  New  York,  where  she 
entered  the  Art  Students'  League,  studying  in 
the  life  classes,  and  portraiture  in  the  private 
studios  of  great  painters. 

She  has  given  her  highest  allegiance  to  and 
for  four  years  acted  as  vice-president  of  the  Art 
Students'  League,  with  its  thousand  students  an- 
nually, whom  she  felt  impelled  to  assist  in  every 
possible  way.  Of  these  students  it  is  authori- 
tatively stated  that  only  one  per  cent  make  good, 
and  only  one-tenth  of  one  per  cent  is  ever  heard 
from.  Considering  the  continuous  effort  for 
years,  the  self-denial,  the  strain  of  hope,  the  dis- 
couragement to  many,  the  result  is  appalling. 
She  believed  so  thoroughly  in  the  opportunity 
and  in  the  work  the  League  was  accomplishing 
that  she  became  a  life  member  in  order  to  lend 
greater  assistance  to  the  students.  Her  work 
has  been  in  constant  touch  with  the  student  life 
of  New  York.  She  painted  with  Chase  at  Shin- 
necock,  Long  Island,  acting  as  secretary  of  the 
class  one  summer. 

Feeling  the  fascination  and  the  opportunity 
of  the  larger  city,  which  was  fast  growing  to 
be  an  art  center.  Sue  Ketcham  became  a  perma- 

232 


ART  SCHOOLS 

nent  resident  of  New  York  thirty  years  ago.  For 
many  years  she  has  maintained  a  studio  in  Car- 
negie Hall,  working  and  living  in  the  atmosphere 
she  has  learned  to  love  and  make  her  own.  Here 
she  receives  her  friends,  new  and  old;  here  she 
talks  of  her  early  art  struggles  and  of  art  pos- 
sibilities. The  plan  of  her  work  is  that  sug- 
gested in  Taine's  "History  of  Art":  "Success 
depends  in  knowing  how  to  be  patient,  how  to 
endure  drudgery,  how  to  make  and  remake,  how 
to  recommence  and  continue,  without  allowing 
the  tide  of  anger  or  the  flight  of  imagination 
to  arrest  or  divert  the  daily  effort." 

Her  summers  are  spent  at  Ogunquit,  Maine. 
With  every  picture  she  paints  there  is  the  thought, 
"I  am  painting  the  ocean  for  Indiana."  At 
Ogunquit  she  planned  and  built  a  cottage  and 
studio  suited  to  her  individual  needs.  This  is 
also  the  summer  haunt  of  the  artist  Charles 
Woodbury  and  his  always  large  class  of  stu- 
dents. Since  1906  Miss  Ketcham  has  acted  as 
manager  of  this  summer  school  while  she  carried 
forward  her  own  work,  which  recently  has  par- 
taken of  the  life  of  the  rock-bound  coast  and 
the  sea  in  its  many  aspects.  In  recent  years 
her  marine  views  have  become  even  better  known 
than  her  portraits.  Her  portrait  of  "My 
Mother,"  which  was  first  exhibited  at  the  Chi- 
cago World's  Fair,  has  elicited  much  praise.  She 

233 


ART  AND  ARTISTS  OF  INDIANA 

exhibited  a  marine  at  the  St.  Louis  Exposition, 
and  is  a  regular  exhibitor  at  the  annual  Eastern 
exhibitions. 

Sue  Ketcham  designed  and  presented  the 
original  drawing  for  a  seal  to  the  Daughters  of 
Indiana  in  New  York,  and  they  conferred  on 
her  the  honor  of  being  a  life  member  of  the  so- 
ciety, as  well  as  the  office  of  honorary  vice- 
president. 

As  to  her  method  of  painting,  she  believes  in 
the  firm  foundation  of  knowing  how  to  draw, 
and  then  working  with  painstaking  precision,  ex- 
pressing one's  own  character,  temperament,  and 
individuality,  without  hurry,  and  with  repeated 
sittings  if  necessary,  until  the  development  of 
the  work  is  the  impression  the  artist  would  ex- 
press. 

The  third  art  school  was  opened  in  Indian- 
apolis in  1888,  under  the  direction  of  T.  C.  Steele, 
in  Circle  Hall,  located  in  the  northwest  segment 
of  the  Circle.  The  entire  second  floor  was  leased 
for  a  term  of  years,  and  was  remodeled  in  order  to 
furnish  ample  light  and  needed  conveniences.  The 
aim  of  the  school  was  to  afford  instruction  in  the 
principles  of  drawing  and  painting  as  a  founda- 
tion for  successful  professional  or  amateur  work 
and  the  best  possible  preparation  for  the  appre- 
ciation of  works  of  art.  Later  William  Forsyth 
became  connected  with  this  school  as  a  teacher. 

234 


ART  SCHOOLS 

It  succeeded  in  the  sense  that  it  developed  a 
number  of  successful  young  students.  The  school 
conducted  day  classes  in  drawing  and  painting, 
and  an  evening  class  for  young  men,  as  well  as 
Saturday  classes  for  children. 

In  1891  a  number  of  persons,  many  of  them 
members  of  the  Art ,  Association,  came  to  the 
assistance  of  the  school,  and  a  reorganization  was 
effected  and  the  school  was  incorporated  as  the 
Indiana  School  of  Art.  This  provided  for  a 
managing  board  of  directors  and  regular  sub- 
scribers, who  contributed  from  five  to  twenty-five 
dollars  each  year  in  order  to  obtain  sufficient 
equipment  and  to  i:elieve  the  instructors  from  the 
heavy  financial  responsibility.  The  school  con- 
tinued in  successful  operation  for  six  years,  the 
enrolment  one  year  numbering  one  hundred  and 
twenty-two  pupils. 

In  1897  the  building  containing  Circle  Hall 
was  torn  down,  and  the  school  was  brought  to  a 
close  for  the  time  being. 

The  Indiana  Exhibition  contains  new  work 
from  year  to  year  of  Emma  B.  King,  who  has  de- 
voted her  life  to  the  expression  and  interpre- 
tation of  nature.  It  was  in  the  studio  of  Jacob 
Cox  that  she  began  her  study  of  art,  then  in  a 
local  school  before  going  to  New  York  to  enter 
the  Art  Students'  League,  and  finally  to  Paris, 
where  she  entered  I'Academie  Julien,  to  remain 

235 


ART  AND  ARTISTS  OF  INDIANA 

for  three  years.  In  the  succeeding  years  she 
has  painted  on  the  coast  of  New  England,  in  the 
Adirondack  Mountains  and  in  our  own  and 
neighboring  states.  Her  work  is  in  oil  and 
water-colors  and  includes  portraits,  figures,  land- 
scapes, street  scenes,  and  still-life.  She  con- 
tributed murals  to  the  Indianapolis  City  Hos- 
pital. She  is  a  life  member  of  the  Art  Students' 
League  and  the  Society  of  Women  Painters  and 
Sculptors  of  America,  an  organization  enrolling 
many  prominent  women  artists  of  this  country. 

Roda  Selleck  has  long  been  an  encouraging 
teacher  and  a  severe  critic  in  the  art  department 
of  Shortridge  High  School  in  Indianapolis.  Her. 
work  has  been  in  a  large  measure  preparatory 
study  to  work  in  the  crafts  and  in  drawing  and 
painting  for  more  advanced  schools. 

The  name  of  Mary  Y.  Robinson  is  connected 
with  the  earliest  art  school  of  Indianapolis, 
which  she  entered  as  a  pupil  when  a  child.  Later 
she  went  East  to  study  at  the  Art  Students' 
League  and  with  Chase  at  Shinnecock  and  in 
water-color  with  Rhoda  Holms  Nichols.  After 
her  return  to  Indianapolis  she  taught  drawing 
for  many  years  in  the  Girls'  Classical  School  and 
in  the  children's  department  in  the  art  school 
located  in  Circle  Hall.  For  fifteen  years  or  more 
she  had  classes  in  her  own  studio.  She  wrote 
and  illustrated  "The  Songs  of  the  Trees";  other 

236 


AN  OUT-DOOR  CLASS 


PHOTOGRAPH 


ART  SCHOOLS 

of  her  illustrations  have  appeared  in  St,  Nicholas 
and  kindergarten  magazines. 

Among  the  number  of  students  working  about 
this  time  who  have  continued  an  interest  in  art 
are:  Ada  M,  Comingor,  Lucy  A.  Wilson,  Julia 
Graydon  Sharpe,  Anna  Hasselman,  Sadie  Weis- 
enberger,  deceased,  Temp  Tice,  Elizabeth  Driggs 
Bacon,  Virginia  Keep  Clarke,  Ruth  Pratt  Bobbs, 
Lucy  Taggart,  and  Dorothy  Morlan.  The  last 
paints  with  masculine  strength  and  vigor.  She 
sees  the  broad  side  of  nature  in  its  larger  and 
graver  aspects.  Thought  permeates  all  her 
work  and  her  pictures  are  delineations  of  the 
big  impressive  moods  of  an  approaching  storm 
or  of  somber  winter  in  the  grip  of  ice  and  snow. 
Representative  work  is  to  be  found  in  her  murals 
in  the  City  Hospital,  where  she  has  massed  dark 
green  trees  in  silhouette  against  the  rolling  hill- 
side, which  are  again  reflected  in  the  quiet  water 
of  the  foreground. 

Ruth  Pratt  Bobbs  and  Lucy  Taggart  are  con- 
scientious workers  in  portraiture,  often  paint- 
ing in  a  high  key  with  a  dash  that  holds  the  ob- 
server. They  depict  their  sitters  with  a  subtle 
grace,  and  a  wealth  of  radiant  color  peculiarly 
rich  in  quality.  They  are  both  frequent  exhibi- 
tors in  the  Eastern  galleries. 

The  promise  of  a  larger  permanent  community 
interest  in  things  artistic  is  a  foregone  conclusion 

237 


ART  AND  ARTISTS  OF  INDIANA 

when  the  public  schools  are  employing  teachers 
of  art  who  have  had  superior  advantages  for 
study  in  the  art  centers  of  America.  The  work 
of  Estelle  Peel  Izor,  for  many  years  teacher  of 
the  advanced  life  classes  in  the  Manual  Train- 
ing High  School  of  Indianapolis,  has  been  uni- 
formly of  the  highest  quality.  She  has  intro- 
duced new  and  original  courses  of  study  on  the 
practical  applications  of  art,  one  in  Costume  De- 
signing and  another  in  Home  Decoration.  These 
have  attracted  the  attention  of  the  Eastern  in- 
stitutes that  are  teaching  the  applied  arts,  as 
well  as  the  manufacturers  of  furniture  and  fur- 
nishings for  the  home. 

She  has  a  wide  scope  of  achievement  and  is  a 
frequent  exhibitor.  Her  work  is  cleverly  handled 
in  both  oil  and  water-color.  Her  pictures  are  in 
many  private  galleries  and  homes.  She  is  also 
an  author.  The  demand  for  the  work  she  has 
created  and  developed  being  so  insistently  called 
for  that  it  has  recently  been  presented  to  the 
public  in  a  volume  entitled  "Costume  Designing 
and  Home  Planning." 

In  January,  1902,  the  old  homestead  that  had 
been  chosen  as  the  site  for  the  John  Herron 
Art  Institute  was  acquired  by  the  Art  Associa- 
tion. The  museum  was  established  in  the  old 
brick  residence  that  for  some  time  had  been  the 
home  of  T.  C.  Steele.    At  the  beginning  of  the 

238 


ART  SCHOOLS 

same  year  an  art  school  was  opened,  with  J. 
Ottis  Adams  instructor  in  painting  and  draw- 
ing; Brandt  Steele  instructor  in  nature  study 
and  its  application  to  design  and  modern  orna- 
ment; Alfred  B.  Lyon  instructor  in  historic 
ornament  and  practical  ornamental  modeling  and 
woodcarving;  instruction  for  children  was  given 
in  Saturday  classes  by  Virginia  Keep,  Helen 
McKay,  Bessie  Hendricks,  and  Temp  Tice.  The 
last  has  been  long  identified  with  the  art  schools 
of  Indianapolis,  having  been  connected  with  the 
school  opened  in  Circle  Hall  as  instructor  in 
water-color.  She  taught  the  children's  classes. 
At  the  conclusion  of  the  school  year  in  1905 
Adams  resigned,  and  was  succeeded  by  William 
Forsyth,  who  took  charge  of  the  classes  in  draw- 
ing and  painting. 

In  1906  the  school  was  conducted  in  the  build- 
ing of  the  Union  Trust  Company  during  the 
erection  of  the  Art  Institute.  In  the  winter  of 
1907  the  art  school  was  temporarily  located  on  the 
first  floor  of  the  institute,  but  the  next  year 
moved  into  its  own  quarters  on  the  institute 
grounds. 

Other  artists  appearing  on  the  faculty  at  vari- 
ous times  have  been  Otto  Stark,  Clifton  A. 
Wheeler,  William  M.  Allison,  in  painting  and 
composition ;  Ruldolph  Schwarz,  Helene  Hibben, 
George  Julian  Zolnay,  Alexander  Sangernebo, 

239 


ART  AND  ARTISTS  OF  INDIANA 

and  Walter  Reed  Williams  in  sculpture  and 
modeling;  Edna  Browning  Ruby,  Harry  E. 
Wood,  Mary  E.  Brewer,  Ernest  B.  Foster, 
Harry  W.  Ballard,  and  H.  H.  Brown  in  the 
department  of  applied  design ;  Alice  R.  Hadley, 
ceramic  decoration;  Lovina  Knowlton  and  Ruth 
Carey  in  bookbinding;  in  normal  classes,  Selma 
Neubacher  (now  Mrs.  T.  C.  Steele),  Lillian 
Weyl,  Martha  Feller  King,  Alice  Benton  Scott, 
Margaret  Seegmiller,  Lillian  G.  Swan,  Roda 
Selleck,  and  Estelle  P.  Izor;  in  artistic  anatomy, 
Dr.  H.  R.  Allen  and  Dr.  M.  Thorner. 

In  the  year  1909  began  an  affiliation  of  the  Art 
Institute  and  the  public  schools  of  Indianapolis. 
Under  an  act  of  the  Legislature  in  1915  a  fund 
was  made  possible  for  further  cooperation  be- 
tween the  schools  and  the  museum.  The  doors 
were  opened  free  to  the  public  two  days  in  the 
week,  the  high  school  pupils  receiving  instruction 
in  the  art  school  in  life  work  from  the  model  and 
the  grade  pupils  in  the  general  study  of  art. 
Through  this  connection  free  admission  to  the 
museum  is  given  at  all  times  to  teachers  and 
pupils,  with  the  privilege  of  attending  the  lec- 
tures and  other  activities  of  the  Art  Association. 

Since  the  establishment  of  the  present  museum 
there  are  many  courses  of  lectures.  The  weeks 
are  filled  with  informal  talks  to  clubs  and  groups 
of  school  children.    Space  in  the  children's  room 

240 


SEAL  OF  THE  DAUGHTERS  OF  INDIANA  IN  NEW  YORK 
SUSAN  M.  KETCHAM 


ART  SCHOOLS 

is  often  wholly  inadequate  to  accommodate  the 
number  of  eager  children  present,  and  it  fre- 
quently happens  that  the  art  talks  must  be  re- 
peated from  two  to  three  times  in  order  that 
all  the  eager  youngsters  may  be  admitted  to  the 
room.  This  arrangement  has  brought  about 
most  satisfactory  results ;  there  has  been  a  steady 
growth  in  interest  that  has  proved  to  be  a  perma- 
nent and  powerful  factor  in  the  art  education  of 
the  city. 

The  museum  library  should  be  mentioned  as 
one  of  the  means  of  art  study  afforded  by  the 
institute  that  may  be  taken  advantage  of  not  only 
by  those  who  are  enrolled  as  art  students  but  by 
all  who  visit  the  museum  and  care  to  make  use 
of  it. 

It  may  be  of  interest  to  recall  the  names  of 
some  who  have  been  students  in  the  John  Her- 
ron  Art  School.  Fred  Yohn,  of  New  York  City, 
famous  as  an  illustrator,  was  a  student  in  one 
of  the  earlier  schools  about  twenty  years  ago. 
The  institute  has  an  old  drawing  that  was  made 
by  him.  In  the  present  school  the  first  students 
to  enroll  were  Julia  Graydon  Sharpe  and  G. 
C.  Henshaw,  Lucy  Wilson,  Sadie  Weisen- 
burger,  Temp  Tice,  and  Bessie  Hendricks; 
Helen  McKay  Steele,  who  did  a  series  of  full- 
page  drawings  one  year  for  the  Star,  was  at  one 
time  a  student.     There  are  also  the  names  of 

241 


ART  AND  ARTISTS  OF  INDIANA 

Flora  Lauter,  who  has  studied  in  New  York, 
Paris,  Holland,  and  Spain;  W.  M.  Allison,  now 
doing  commercial  art  work  in  New  York ;  Mar- 
tinus  Andersen,  whose  landscapes  have  received 
much  praise  recently;  Harry  Carlisle,  Worth 
Brehm,  Hanson  Booth,  and  Harvey  Emerich, 
all  illustrators  in  the  East;  Charles  Tharpe  and 
Kurt  Vonnegut,  Indianapolis  architects;  Grace 
Pearl  Loehr,  who  is  making  a  name  for  herself 
in  New  York  doing  artistic  photography;  Elsie 
Duden,  now  a  teacher  of  art  in  a  girls'  school 
in  Springfield,  Missouri;  Edward  Haubrick, 
now  with  the  American  Lithographic  Company 
in  New  York;  Wayman  Adams,  who  later 
studied  with  Chase  in  Italy  'and  with  Henri 
in  Spain,  and  is  now  doing  portrait-painting  in 
New  York  and  Indianapolis;  Lucy  Taggart, 
Dorothy  Morlan  of  Irvington,  Justin  Gruelle, 
Simon  Baus,  whose  work  took  a  prize  at  the  Wan- 
amaker  exhibit  one  year,  and  Thomas  Stanley, 
a  conscientious  Quaker  student. 

Of  the  many  students  of  the  Art  School  some 
have  remained  to  teach  or  work  in  the  com- 
munity in  the  face  of  the  fact  that  a  prophet,  even 
though  he  be  an  artist,  is  without  honor  and 
has  many  hills  to  ascend. 

Clifton  A.  Wheeler  is  an  instructor  in  the 
John  Herron  Art  School,  where  he  was  a  stu- 
dent a  few  years  ago.    After  this  first  period  of 

242 


ART  SCHOOLS 

study  he  went  to  New  York  to  enter  the  classes 
of  William  M.  Chase,  where  he  became  much 
interested  in  the  work  of  the  old  masters.  He 
went  to  Europe  on  two  different  occasions  to 
study  the  masterpieces  of  the  great  galleries. 
While  in  New  York  he  attended  the  lectures  in 
literature,  art,  and  science  at  the  Cooper  In- 
stitute. Later  he  was  a  member  of  a  student 
party  who  studied  with  Chase  in  Rome,  Florence, 
Venice,  and  Vienna,  and  won  a  Chase  prize.  In 
1910  he  again  went  to  Europe,  visiting  the  gal- 
leries of  Italy,  France,  and  Germany.  At  this 
time  he  met  Hilda  Drake,  daughter  of  the  late 
Alexander  W.  Drake,  art  director  of  the  Cen- 
tury Magazine.  Miss  Drake  was  also  an  art 
student  and  a  woman  of  unusual  charm.  She 
became  Mrs.  Wheeler  before  the  end  of  the  year. 
After  the  marriage  they  built  a  home  and  studio 
in  Irvington,  a  suburb  of  Indianapolis,  within  a 
stone's  throw  of  the  glory  of  the  Ellenberger 
woods,  a  haunt  where  the  artists  study  the  pano- 
ramic changes  of  the  wonders  of  nature. 

Wheeler  works  in  decorative  and  imaginary 
lines.  When  he  paints  winter  scenes,  one  feels 
that  this  is  his  special  province.  Oftentimes  the 
snow  is  damply  evaporating  against  leaden 
clouds;  sometimes  it  is  crisp  and  sparkling  in 
the  winter's  sunshine,  as  it  clings  to  the  swaying 
wind-blown  branches  that  are  outlined  against 

243 


ART  AND  ARTISTS  OF  INDIANA 

the  cold  blue  of  the  winter  sky.  His  interpre- 
tation of  the  crystalline  clearness  and  the  niveous 
winter  air  is  individual  and  exceptional.  His 
most  successful  work  thus  far  is  along  decora- 
tive lines.  Many  of  his  murals  are  scattered  over 
the  state,  and  those  in  the  City  Hospital  in  In- 
dianapolis are  of  unusual  excellence. 

He  does  not  confine  himself  to  any  particular 
technique  or  subject,  but  he  constantly  sur- 
prises the  public  with  each  new  exhibit  by  pre- 
senting something  totally  different — an  entirely 
new  note  with  an  individuality  of  treatment  not 
before  shown.  At  times  his  work  is  impression- 
istic or  his  canvas  will  be  full  of  the  finest  at- 
mospheric qualities.  He  has  the  power  of  imagi- 
nation to  an  unusual  degree  and  is  not  satisfied 
with  the  realism  in  vogue. 

The  annual  exhibition  of  the  Pennsylvania 
Academy  of  Fine  Arts  has  always  been  and  is 
admittedly  the  art  event  par  excellence  of  the 
entire  country  each  year,  and  it  is  with  a  measure 
of  pride  that  we  note  for  the  first  time  the  name 
of  Wayman  Adams  in  the  one  hundred  and  ninth 
annual  exhibition.  His  portrait  of  Booth  Tar- 
kington  was  well  hung  and  was  reproduced  in  the 
ofiicial  catalogue. 

He  was  a  student  in  the  John  Herron  Art 
School  for  three  years,  after  which  he  spent  the 
summer  of  1910  with  Chase  in  Italy,  capturing 

244 


A  MARINE,  OGUNQUIT,  MAINE  SUSAN  M.  KETCHAM 

OWXED  BY   MRS.    HENRY  T.   LAKO^  VICE-PRES.  MUSEUM  OF  ART,  MONTCU^IR,  K.  J. 


ART  SCHOOLS 

a  Chase  prize.  In  1912  he  was  with  Robert 
Henri  in  Spain,  where  he  made  many  sketches 
of  striking  interest,  impressions  of  street  scenes, 
begging  musicians,  bull-fights,  passing  carriages, 
all  vibrating  with  life  and  color  essentially  Span- 
ish. 

He  has  devoted  himself  entirely  to  portraiture, 
maintaining  a  studio  in  Indianapolis,  but  work- 
ing a  part  of  each  year  in  the  East  where  he  has 
painted  a  number  of  portraits  of  men  of  dis- 
tinction— Otis  Skinner,  the  actor,  Elisha  R. 
Kennedy,  trustee  of  the  Brooklyn  Museum, 
George  McAneny,  Marcus  Marks,  John  Mc- 
Lure  Hamilton  and  Joseph  Pennell,  artists,  and 
Eugene  Castello,  artist  and  critic. 

Adams'  portraits  are  full  of  the  character  and 
individuality  of  the  sitter.  He  avoids  monotony 
and  heightens  the  interest  of  his  canvases  with 
dashes  of  vivid  color  in  drapery  until  each  por- 
trait has  a  distinct  color  note.  He  creates  an  in- 
terest through  the  spontaneity  of  his  brush-work. 
He  executes  with  rapidity  and  assurance,  sup- 
pressing all  that  is  unessential,  including  every- 
thing that  is  of  actual  interest  and  characteristic. 
He  comprehends  his  subject;  he  models  well  the 
form  beneath  the  garment;  he  understands  and 
brings  out  the  texture,  never  making  it  para- 
mount, the  interest  being  directed  immediately 
to  the  sitter,  and  the  characterization,  though 

245 


ART  AND  ARTISTS  OF  INDIANA 

not  elaborate,  is  direct  and  truthful.  The  canvas 
as  a  whole  contains  a  delightful  decorative  qual- 
ity, yet  it  remains  a  portrait.  His  portraits  are 
modern  in  every  sense.  The  people  sit  in  their 
ordinary  dress  amid  familiar  surroundings,  in 
an  easy  and  unconventional  manner.  This  as- 
sists him  in  gaining  an  insight  into  their  char- 
acter and  creates  a  natural  position  that  lends  it- 
self to  the  atmosphere  of  the  finished  work. 

In  1915  he  was  one  of  a  group  that  made  up  an 
exhibit  at  the  MacDowell  Club.  The  MacDowell 
Club  plan  dispenses  with  a  jury  and  gives  con- 
genial self -organized  and  self -judging  groups  of 
painters  and  sculptors  encouraging  opportunity 
to  exhibit  their  work  for  publicity,  criticism,  and 
sale  at  a  minimum  of  expense  and  red  tape. 

His  admirable  portrait  of  Alexander  Er- 
nestinoff ,  director  of  the  Indianapolis  Orchestra, 
is  a  striking  likeness  and  has  qualities  that  at- 
tracted the  attention  of  art-loving  people  even 
where  the  subject  was  unknown.  It  is  a  strong 
piece  of  characterization  done  with  an  unhesi- 
tating brush.  It  won  the  Thomas  R.  Proctor 
prize  at  the  exhibition  of  the  National  Academy 
of  Design  in  December,  1914,  and  was  repro- 
duced in  the  New  York  Times.  The  same  por- 
trait won  the  J.  Irving  Holcomb  prize  at  the 
exhibit  of  the  Indiana  artists  at  the  John  Her- 
ron  Art  Institute  in  1916.     In  1919  it  was  one 

246 


ART  SCHOOLS 

of  the  invited  paintings  at  the  first  American  ex- 
hibition at  the  Luxembourg  Museum,  Paris.  In 
October  of  1914  Adams  held  an  exhibition  of 
twenty  portraits  at  the  New  York  City  Club 
that  created  much  favorable  comment.  The  por- 
traits of  J.  Frank  Hanley,  James  M.  Ralston, 
and  Thomas  R.  Marshall  hanging  in  the  row  of 
Indiana's  governors  in  the  State  Library  are  his 
work.  He  won  the  Newport  Art  Association 
gold  medal  in  1918  and  the  Mr.  and  Mrs.  Frank 
G.  Logan  medal  in  1919. 

He  painted  portraits  of  children  of  all  na- 
tionalities and  races  represented  in  Indianapolis. 
These  paintings  form  the  decoration  in  the  chil- 
dren's ward  of  the  Burdsal  unit  of  the  City  Hos- 
pital. He  chose  for  his  models  interesting  chil- 
dren found  on  the  city  streets,  children  who  may 
some  time  be  inmates  of  that  very  ward.  They 
are  in  their  native  costume  and  are  cleverly  exe- 
cuted. 

Wayman  Adams  was  appointed  one  of  the 
"twelve  eminent  portrait-painters  of  American 
birth"  commissioned  to  paint  portraits  of  Ameri- 
cans who  won  renown  in  the  world  war.  The 
American  Portrait  Foundation  was  established 
in  1918  by  ChristoiFer  Hannevig  for  a  National 
Portrait  Gallery.  Adams  was  elected  an  Asso- 
ciate of  the  National  Academy  in  April,  1921. 

Simon  P.  Bans,  a  young  artist,  has  made  great 
247 


ART  AND  ARTISTS  OF  INDIANA 

strides  in  his  work,  and  was  a  former  student  of 
the  John  Herron  Art  School.  He  showed  unusual 
ability  in  his  youth,  making  sketches  of  his  boy 
friends.  When  he  entered  the  Manual  Training 
High  School  he  developed  quickly  under  the 
guidance  of  Otto  Stark.  He  won  the  first  prize 
in  oil  painting  (the  head  of  an  old  woman)  at 
the  Wanamaker  Students'  Exhibition  in  1909. 
His  work  was  again  shown  in  Philadelphia  in 
1915  at  the  Pennsylvania  Academy  of  Fine  Arts, 
where  he  sold  a  monotype  made  from  his  por- 
trait of  Marie  Gray.  His  work  is  spontaneous 
and  pleasing,  a  sympathetic  interpretation  of 
personality.  In  landscape  he  paints  with  a  broad 
brush,  in  a  high  key,  producing  a  brilliancy  and 
rendition  of  light  with  remarkable  felicity.  There 
is  a  massing  of  lights  and  shades,  not  often  in 
the  full  strength  of  color,  though  he  is  not  sparing 
of  color.  A  suggestion  of  warm  grays  runs 
through  most  of  his  pictures,  binding  together 
the  richer  colors,  giving  them  an  undeniable 
charm.  His  work  in  the  City  Hospital  is  a 
splendid  contribution  to  the  murals  of  the  State. 
He  won  the  J.  Irving  Holcomb  prize  in  1919  at 
the  annual  Indiana  exhibition. 

Carl  Graf  worked  for  three  years  as  a  car- 
toonist on  the  Bedford  Daily  Democrat  before 
entering  the  John  Herron  Art  School,  where  he 
was  an  untiring  and  earnest  student.     His  can- 

248 


ART  SCHOOLS 

vases  are  full  of  vital  motion.  Though  often 
small  in  size,  they  express  strength  and  bigness. 
Vigor  seems  ever  to  be  his  keynote;  he  paints  in 
the  full  strength  of  color.  His  mural  *'Elfin 
Grove,"  a  charming  fairy  tale,  is  to  be  seen  in 
the  foyer  hall  of  the  City  Hospital.  The  story 
explains  how  from  perpetual  sunshine  and  flames 
we  now  have  the  four  seasons  of  the  year. 

Walter  Hixon  Isnogle,  another  student,  has 
taken  his  place  among  the  mural  decorators  of 
Indiana.  Utilizing  his  knowledge  of  figure-draw- 
ing, he  chose  for  his  theme  "Music,  Literature, 
and  Art,"  and  acquitted  himself  with  honor.  His 
strong  feeling  for  line  and  design  has  led  him 
to  place  his  figures,  singly  or  in  groups,  with 
splendid  freedom. 

Other  artists  who  were  students  and  who  are 
rapidly  becoming  regular  exhibitors  in  the  In- 
diana annual  showing  are  the  following:  William 
Burgman,  E.  Chase  Cassady,  Jay  Connaway, 
Randolph  Coats,  Howard  M.  Coots,  Margaret 
Casanges,  Frances  M.  Gladding,  Marie  Goth, 
Marie  Chilton  Gray,  Paul  Hadley,  John  W. 
Hardwick,  Edward  Haubrick,  Hugh  M.  Her- 
rick,  Richard  B.  Hausdorfer,  Roy  M.  Ketcham, 
Lynn  T.  Morgan,  Lewis  Mueller,  Frederick 
Polly,  Paul  A.  Randall,  William  E.  Scott,  Ed- 
ward R.  Sitzman,  and  others. 

Glen  Cooper  Henshaw  was  a  student  of  the 
249 


ART  AND  ARTISTS  OF  INDIANA 

John  Herron  Art  School  for  a  short  period  be- 
fore going  to  Munich  in  1902  and  to  Paris  a 
year  later,  where  he  remained  for  the  greater 
part  of  live  years,  studying  in  the  schools  and 
exhibiting  in  the  salons  from  1904  to  1908.  The 
American  Art  News  in  speaking  of  his  street 
sketches  says:  "In  these  presentments  he  shows 
especial  individuality,  and  it  is  in  these  that  ap- 
peal is  made  most  strongly  to  his  artistic  sense. 
In  their  rendition  he  proves  his  ability.  His 
freshness  of  vision  and  the  free,  unaffected,  di- 
rect interpretation  of  subjects  which  he  sees  in 
a  picturesque  and  realistic  manner  would  seem 
to  indicate  for  him  a  good  future."  He  has 
spent  much  time  sketching  the  street  scenes  along 
the  water-front  and  the  lower  East  Side  of  New 
York.  The  pastel  and  lighter  work  is  often  left 
suggestive,  for  he  thoroughly  believes  the  half 
is  often  more  expressive  than  the  whole.  The 
street  scenes  possess  a  distinctive  charm  that  have 
attracted  discerning  collectors  in  France  and 
America. 

His  ability  to  delineate  the  character  and  un- 
affected simplicity  of  children  with  their  youth- 
ful naif  expression  is  ingenious.  He  considers 
art  rather  than  the  intellect  a  manifestation  of 
the  feelings  and  emotions.  "The  emotions  can- 
not be  excited  at  will  and  cannot  serve  to  pro- 
duce art,  when  the  thing  is  not  done  for  its  own 

250 


ART  SCHOOLS 

sake  alone."  Mrs.  Henshaw,  a  student  of  sculp- 
ture with  an  understanding  of  character,  is  a 
sympathetic  companion  and  critic  of  her  hus- 
band's work. 

Another  native  Hoosier  working  in  New  York 
City  is  Martinus  Andersen.  He  is  making  vivid 
studies  full  of  vitality  and  impulse,  full  of  fresh- 
ness and  spontaneity,  which  show  the  influence 
of  the  advance  movement  in  art  not  inaptly  de- 
scribed as  the  art  of  to-morrow.  His  work  is 
receiving  recognition  in  the  art  centers.  His 
murals  in  the  Indianapolis  City  Hospital  are 
individual  and  purely  decorative,  handled  in 
masses  broken  with  short  brush  strokes  of  color. 
The  color  scheme  is  attractively  balanced  in 
lakes,  forests,  and  clouds,  while  he  charmingly 
adds  the  sensation  of  shade  lurking  beyond  the 
sunshine. 

It  has  been  said  that  Indiana  is  the  birth- 
place of  men  of  genius;  Sir  Joshua  Reynolds 
said,  "Genius  is  labor."  Persistent  effort  to 
attain  brings  a  measure  of  desired  result  and  ac- 
complishment. When  Indiana  does  not  offer  all 
the  capacity  for  research,  Hoosiers  have  ever 
been  free  to  make  the  whole  world  their  labora- 
tory, working  on  the  threshold  of  inquiry,  solv- 
ing the  point  in  question,  becoming  proficient 
until  they  are  occupying  substantial  positions  the 
length  and  breadth  of  the  land.     Indiana  has 

251 


ART  AND  ARTISTS  OF  INDIANA 

furnished  her  quota  of  artists  who  are  residing 
in  the  East  and  who  are  factors  in  the  creation  of 
an  American  art.  The  very  fragrance  of  art 
is  in  the  atmosphere  of  Gotham,  whether  it  be 
for  the  purpose  of  study  in  league  or  class.  Here 
Indiana  students  abound.  Even  if  the  period  of 
study  is  a  part  of  the  background  and  prosaic 
work  is  in  the  forefront,  you  will  find  the  In- 
diana artist  making  his  way ;  or,  if  he  has  arrived, 
his  studio  may  be  a  place  of  luxury  as  well  as  a 
work-room. 

Hoosiers  are  in  evidence  in  New  York,  filling 
every  position  that  art  has  to  offer,  from  com- 
mercial work,  craft  work,  designing,  illustrating, 
the  painting  of  miniati^res,  landscape,  and  por- 
traits, to  sculpture.  Among  those  who  are  resi- 
dent there  are  Elmer  Taflinger,  Frederick  W. 
Ross,  Charles  Reiffel,  Alexander  Many,  Albert 
Matzka,  Flora  Lauter,  Theodora  Larsh,  Glen  O. 
Coleman,  Samuel  B.  Wylie,  Charles  B.  Wright, 
Harry  G.  Williamson,  Henry  R.  McGinnis,  H. 
Vance  Swope.  In  Boston  we  find  Isaac  Henry 
Caliga,  who  was  born  and  lived  many  years  in 
Auburn,  Indiana.  He  was  born  with  the  name 
of  Stiefel.  Like  Alma-Tadema  he  made  bold 
to  have  a  name  of  his  own  choosing.  Daniel 
Kotz,  formerly  of  South  Bend,  now  maintains  a 
studio  at  Park  Ridge,  New  Jersey. 

Olive  Rush  through  a  period  of  years  devoted 
252 


THE  QUIET  HOUR 


EMMA  B.  KING 


ART  SCHOOLS 

considerable  time  to  illustration,  but  felt  its 
limitations.  Later  she  took  up  the  larger  field  of 
children's  portraits,  which  she  handles  with  a 
sympathetic  appreciation.  After  a  period  of 
study  in  New  York  and  Paris  she  became  a  resi- 
dent of  the  former  city  for  a  number  of  years. 
In  Paris  she  was  an  exhibitor  in  the  galleries 
of  the  Grand  Palais,  while  in  America  her  pic- 
tures have  been  shown  in  all  the  museums.  In 
1913  she  received  the  Boston  Museum  prize.  In 
St.  Andrew's  Church,  Wilmington,  Delaware, 
are  some  elucidating  altar  panels  entitled  "The 
Gospel"  which  are  her  work.  She  works  with 
equal  facility  in  either  oil  or  water-color.  She 
was  born  in  Fairmount,  Indiana.  In  consider- 
ing the  sign-posts  about  her  she  found  them  all 
saying,  "Take  your  own  road  if  you  wish  to  reach 
home,"  and  in  the  open  plain  a  path  revealed 
itself  that  led  her  back  to  the  dreams  that  have 
been  hers  from  the  beginning — the  portraiture 
of  little  children. 

Daniel  Garber  is  distinctly  an  Indiana  artist, 
though  he  lives,  paints,  and  teaches  in  and  near 
Philadelphia,  where  he  is  connected  with  the 
Pennsylvania  Academy  of  Fine  Arts.  His  can- 
vases are  striking  features  of  the  annual  Indiana 
exhibition.  In  1909  he  achieved  his  first  im- 
portant success ;  then  in  rapid  succession  followed 
a  long  list  of  prizes  and  public  recognition  exhib- 

253 


ART  AND  ARTISTS  OF  INDIANA 

ited  in  the  purchase  of  his  pictures  for  museums. 

William  Carey  Brazington  and  Edward  How- 
ard Griggs  roamed  wood  and  meadow  in  their 
youth,  planning  their  future.  Many  years  later 
Edward  Howard  Griggs,  the  lecturer,  returned 
to  Indianapolis  when  they  laid  William  Carey 
Brazington,  the  artist,  in  his  last  resting-place. 
He  told  of  their  youthful  hopes  and  dreams,  of 
the  artist's  achievements  and  success,  of  how  they 
had  both  received  encouragement  in  the  study 
classes  of  Oscar  McCullough.  Brazington  spent 
one  year  in  Paris,  studying  under  such  masters 
as  Lucien  Simon  and  Charles  Cottet,  after  which 
he  returned  to  New  York,  where  he  opened  a 
studio  in  the  Van  Dyck  Building  and  later  in  the 
Studio  Building.  His  main  work  lay  in  the  field 
of  portrait-painting. 

Among  his  most  noteworthy  portraits  were 
those  of  the  Hon.  Chauncey  Depew,  the  Rev. 
Beach  of  the  American  Church  in  Paris,  and 
Sir  Purdon-Clarke,  formerly  director  of  the 
Metropolitan  Museum  of  Art.  Besides  these 
well-known  names,  Brazington  painted  the  por- 
traits of  a  large  number  of  private  individuals. 
He  was  especially  successful  in  portraits  of  chil- 
dren and  of  typical  American  women. 

Aside  from  his  main  field  of  work  he  made 
some  remarkable  studies  from  life,  among  them 
certain  red-chalk  drawings  of  the  human  face  and 

254 


ART  SCHOOLS 

figure  that  are  very  beautiful.  During  the  four 
years  of  failing  health,  when  he  was  in  Arizona, 
he  made  paintings  of  that  Western  desert  and 
mountain  scenery  which  indicate  a  step  forward 
in  his  work  in  appreciation  and  mastery  of  color. 

He  was  born  in  Westfield,  Indiana,  November 
9,  1865,  and  lived  yi  Indianapolis  from  1884  to 
1898.  After  his  health  failed  he  returned  to  In- 
diana, living  in  Southport,  where  he  died  July 
12,  1914. 

The  work  of  Louis  Paul  Dessar  is  but  slightly 
known  in  the  place  of  his  birth,  since  he  has 
held  but  one  exhibition  in  Indianapolis,  and  that 
several  years  ago.  That  he  has  succeeded  as 
an  artist  is  beyond  peradventure.  It  is  recalled 
that  his  father,  a  successful  merchant,  had  very 
definite  ideas  as  to  his  son's  education  and  busi- 
ness calling,  and  failed  entirely  to  encourage  his 
inclination  to  follow  the  calling  of  art.  Finally 
the  father  definitely  committed  himself  by  say- 
ing that  when  the  youth  could  draw  the  father's 
portrait  to  his  complete  satisfaction  he  would 
grant  him  the  privilege  of  real  art  study.  It 
was  not  long  before  he  was  sent  to  New  York, 
where  he  entered  the  National  Academy  of  De- 
sign. It  was  here  that  he  met  the  art  student  who 
became  his  wife,  and  together  they  went  abroad 
in  1886  to  study  under  Bouguereau,  Fleury, 
and  in  the  ficole  des  Beaux-Arts  in  Paris. 

255 


ART  AND  ARTISTS  OF  INDIANA 

He  was  attracted  by  the  peasant  life  of  the 
fisher-folk  in  northern  France.  He  finally  went 
to  the  little  village  of  Trepied  and  became  a 
habitant  among  these  picturesque,  earnest,  stolid 
people,  who  were  wont  to  perform  their  daily 
tasks  in  such  a  manner  as  to  attract  the  artist. 
He  mingled  with  them  freely  and  many  of  his 
pictures  date  from  this  period. 

His  idea  of  obtaining  a  home  was  unique. 
After  purchasing  a  small  piece  of  ground  much 
to  his  liking,  he  found  himself  without  sufficient 
funds  with  which  to  build  the  coveted  house. 
Nothing  daunted,  he  determined  on  a  purely 
original  plan  of  building  two  rooms  as  a  be- 
ginning; then,  each  time  he  sold  a  picture,  he 
added  another  room,  the  intervening  time  reveal- 
ing what  was  most  needed  and  the  plan — a  ro- 
mantic way  of  building,  which  terminated  in  a 
picturesque  ensemble. 

The  poetic  side  of  nature  has  great  charm 
for  Dessar.  He  paints  moonlight  scenes  very 
effectively.  He  loves  twilight  and  catches  the 
feeling  of  the  hour  in  a  particular  manner.  He 
paints  with  great  brilliancy  of  color,  which  is 
broadly  handled.  The  pictures  that  interest  him 
most  are  the  ones  he  finishes  in  a  hurry,  feeling 
that  to  linger  would  be  to  lose  much  of  the  spon- 
taneity and  freshness  that  is  so  vigorously  placed 
on  his  canvases. 

256 


4 


XL     WILHELMINA  SEEGMILLER 

(1866-1913)' 

Lover,  Revealer,  and  Creator  of  Beauty;  Open-Minded 
Student,  Competent  Executive,  Inspiring  Leader, 
Beloved  Teacher,  Author,  Artist,  and  Poet; 
A    Charming    and    Lovable    Woman 

She   was   a   woman;   one   in   whom 
The  springtime  of  her  childish  years 
Had  never  lost  its  fresh  perfume. 
Though  knowing  well  that  life  hath  room 
For  many  blights  and  many  tears. 

Lowell. 

WILHELMINA  SEEGMILLER  fol- 
lowed that  which  Plato  called  the  true 
order  of  going.  She  used  the  beauties  of  the 
earth  as  steps  along  which  to  mount  upward  for 
the  sake  of  that  other  beauty:  going  from  one 
to  two  and  from  two  to  all  fair  forms  and  from 
fair  forms  to  fair  actions,  and  from  fair  actions 
to  the  divine  beauty,  pure,  clear,  and  unalloyed, 
not  clogged  with  the  pollutions  of  mortality." 

When  the  Master  has  some  great  work  to  be 
done,  there  seems  to  be  some  one  created  to  carry 
out  the  plan.  Wilhelmina  Seegmiller  believed 
unquestionably  that  art  in  its  broadest  sense  is 
one  of  the  purest  and  highest  elements  in  human 
happiness.    To  be  able  to  see  beauty  is  a  train- 

*By  permission  of  the  School  Arts  Magazine,  September,  1913. 

257 


ART  AND  ARTISTS  OF  INDIANA 

ing  to  the  eye;  to  be  able  to  apply  it  to  life,  a 
training  to  the  mind;  to  be  able  to  live  in  the 
midst  of  harmonious  surroundings,  a  means  to  a 
better  life.  With  these  basic  principles,  through 
the  children  of  the  public  schools  she  was  able 
to  penetrate  some  of  the  darkest  homes,  carry- 
ing light,  beauty,  and  an  uplift  to  many  with 
whom  she  never  came  into  direct  contact. 

She  came  to  Indianapolis  as  an  art  instructor 
in  the  public  schools  in  1895,  and,  with  the  ex- 
ception of  brief  absences  for  study,  continued 
here  until  the  close  of  her  life-work.  Otto  Stark, 
a  fellow  teacher,  who  was  closely  associated  with 
her  in  the  work,  paid  her  the  following  tribute: 

It  was  said  of  Saint  Gaudens,  America's  greatest  sculptor, 
that  he  left  the  world  a  little  better  than  he  found  it. 
Equally  true  would  it  be  to  say  of  Miss  Seegmiller  that  be- 
cause she  lived  and  worked  the  world  has  been  made  a 
little  better.  Not  as  a  sculptor  or  a  painter  or  as  a  profes- 
sional artist,  talented  though  she  was,  do  we  think  of  her, 
but  as  a  benefactor  to  childhood,  as  an  innovator  in  art 
education,  and  as  a  great  personality,  her  life  influencing 
and  enriching  innumerable  other  lives  toward  higher  ideals. 

A  teacher  in  the  truest  sense  of  the  word,  endowed  to  an 
unusual  degree  with  executive  and  administrative  ability, 
with  noble  purposes  directing  her  great  creative  powers,  she 
revolutionized  the  whole  tendency  of  art  education  in  the 
public  schools.  Full  of  initiative,  endowed  with  wisdom  and 
foresight,  she  was  ever  striving  forward.  Untiring  in  her 
devotion  to  her  work,  for  which  she  had  a  passionate  love, 
she  inspired  love  and  devotion  toward  it  in  those  whose 
work  she  directed.  With  a  tact  which  grew  naturally  out 
of  her  love  for  humanity,  she  gave  herself  without  reserve 
to  those  who  needed  help,  encouragement,  and  sympathy. 

Such  was  the  friend  who  for  twenty  years  spent  herself 

258 


WILHELMINA  SEEGMILLER 

for  the  good  of  this  community  and  was  a  leader  amongst 
us.  These  are  the  qualities  which  endeared  her  so  greatly 
to  the  children  and  teachers  of  our  public  schools,  and  to 
her  many  friends  at  home  and  abroad,  expressing  herself 
in  terms  of  beauty.  In  Miss  Seegmiller's  death  our  city 
lost  one  of  the  vital  forces  for  good  and  her  many  friends 
throughout  the  length  and  breadth  of  the  land  bear  elo- 
quent witness  to  her  far-reaching  influence. 

Early  she  learned  that  for  the  child  to  love 
the  beautiful  he  must  know  the  history  of  art 
and  its  growth  from  the  primitive  to  the  great 
art.  So  as  rapidly  as  possible  she  placed  in  the 
hands  of  the  teachers  prints  from  the  old  masters, 
choice  textiles  of  the  past,  the  best  of  Japanese 
prints,  the  finest  of  pottery  forms,  and  into  thou- 
sands of  homes  of  the  rich  and  the  poor  was  car- 
ried the  hand  work  of  the  children  patterned 
after  the  very  best. 

It  has  been  only  during  the  last  two  decades 
that  America  has  awakened  to  the  necessity  of 
art  education.  The  leaders  of  great  industries 
have  slowly  come  to  appreciate  that  without  an 
increased  knowledge  of  artistic  standards  and 
processes  their  product  could  not  advance  or 
rise  above  the  crude  methods  of  untrained  work- 
men. It  has  also  been  found  that  without  art  in 
public  education  a  range  of  experience  and  en- 
joyment is  closed  to  the  children  of  the  coun- 
try. There  are  in  every  community  young  peo- 
ple with  talent  whose  ability  if  properly  trained 
would  be  of  incalculable  value  to  the  country 

259 


ART  AND  ARTISTS  OF  INDIANA 

socially  and  industrially.  Miss  Seegmiller  felt 
that  this  field  could  be  easily  opened  by  placing 
art  on  a  practical  working  basis  in  the  public 
schools.  She  devoted  much  of  her  time  to  formu- 
lating working  plans  for  art  education.  Her  con- 
tribution in  this  line  has  been  of  unusual  im- 
portance. 

Her  Applied  Arts  Drawing  Books  ^  have 
received  the  highest  approbation  and  have  been 
an  educational  success.  This  series  consists  of 
eight  drawing  books  or  one  book  a  year  through 
the  grades.  Some  idea  of  the  scope,  the  order- 
liness of  the  plan,  the  pedagogical  and  artistic 
excellence  of  these  books,  may  be  gathered  by 
placing  the  eight  in  order  side  by  side,  and  open- 
ing them  all  to  the  first  page,  then  all  to  the 
second,  and  so  on  throughout.  Nothing  essen- 
tial is  omitted ;  nothing  useless  is  included.  Every 
drawing  is  right;  every  design  is  good.  The 
course  unfolds  logically  from  first  to  last  and 
from  grade  to  grade,  revealing  a  steady  progres- 
sion from  the  simple  to  the  complex,  from  the 
primitive  to  the  best,  and  all  with  the  children 
ever  in  mind.  These  books  are  universally  used 
throughout  the  schools  of  America.  From  June 
until  January  in  1914,  more  than  a  million  copies 
were  sold. 

*The  advisory  board  for  this  work  of  Miss  Seegmiller  con- 
sisted of  Walter  Perry  of  Pratt  Institute,  James  Hall,  and 
Walter  Sargent  of  Chicago  University. 

260 


MEDITATION  LUCY  M.  TAGGART 

OWNED  BY  THE   LATE  MRS.    8TOUGHTON   A.    FLETCHER 


WILHELMIN^A  SEEGMILLER 

Miss  Seegmiller  contributed  much  happiness 
to  child  life  in  her  "Rhymes  for  Little  Readers," 
"Other  Rhymes  for  Little  Readers,"  and  "Sing 
a  Song  of  Seasons."  The  illustrations  for  the 
last  were  her  own,  and  combined  accurate  botan- 
ical drawing  as  well  as  a  fine  decorative  sense 
exultant  with  life.  To  the  singer  of  this  song 
of  the  seasons  the  growing  world  is  a  thing  of  joy 
and  wonder: 

THE  SEEING  EYES 

The  works  of  God  are  fair  for  naught 

Unless  our  eyes  in  seeing 
See  hidden  in  the  thing  the  thought 

Which  animates  its  being. 

The  shadow  pictured  in  the  lake 

By   every   tree   that   trembles 
Is  cast  for  more  than  just  the  sake 

Of   that   which   it    resembles. 

The  stars  are  lighted  in  the  sky 

Not  merely  for  their  shining: 
But,  like  the  light  of  loving  eyes. 

Have  meanings  worth  divining. 

The  clouds  around  the  mountain-peak. 

The  rivers  in  their  winding. 
Have  secrets  which  to  all  who  seek 

Are  precious  in  the  finding. 

Whoever  at  the  coarsest  sound 

Still  listens  for  the  finest 
Shall  hear   the   noisy   world   go   round 

To  music  the  divinest. 

261 


ART  AND  ARTISTS  OF  INDIANA 

Whoever  yearns  to  see  aright 

Because  his  heart  is  tender 
Shall  catch  a  glimpse  of  heavenly  light 

In  every  earthly  splendor. 

So,   since   the  universe   began 

And  till  it  shall  be  ended. 
The  soul  of  nature,  soul  of  man, 

And  soul  of  God  are  blended. 

Her  charming  interpretation  of  the  sublimest 
in  nature  reaches  and  appeals  directly  to  child 
life  as  well  as  to  the  mature  mind.  She  pos- 
sessed the  understanding  heart  that  enables  a 
grown  person  to  sympathize  with  children  and 
to  see  the  world  through  their  eyes.  Her  poetry 
ranks  with  that  of  Robert  Louis  Stevenson's 
"Child's  Garden  of  Verse."  Her  thought  and 
its  expression  were  as  large  as  the  world,  and 
the  influence  of  her  work  will  continue. 

She  originated  and  arranged  much  material 
for  school  work:  a  four  years'  course  in  primary 
hand  work;  a  succeeding  course  for  the  higher 
grades.  She  devised  weaving  mats  of  rough 
paper  and  soft  colors;  she  also  discovered  tilo, 
a  Japanese  wood-shaving  that  is  used  in  weaving 
mats  and  in  basket-making;  she  introduced  into 
the  schools  wood-block  printing,  stenciling,  and 
other  methods  of  making  designs  for  beautify- 
ing materials  used  in  the  home.  She  was  un- 
tiring in  her  efforts  to  broaden  the  outlook  of  the 
teachers  with  whom  she  worked ;  she  gave  of  her 

262 


WILHELMINA  SEEGMILLER 

time  and  strength  to  lead  classes  for  teachers 
after  school  hours  and  on  Saturdays,  that  they 
might  better  understand  the  principles  and  have 
a  foundation  upon  which  to  build  the  work  of 
art  instruction. 

Her  interest  in  beautifying  the  school-room 
and  the  children's  work  took  the  form  of  ap- 
pealing to  and  fastening  the  child's  sense  of 
beauty.  Under  her  inspiration  there  was  an 
attempt  to  make  the  sketches  of  the  children, 
however  crude,  demonstrate  in  a  practical  way 
that  they  could  be  beautiful  and  expressive.  In 
this  she  worked  alone  for  a  period  of  time.  Her 
sympathy,  her  enthusiasm,  her  understanding 
made  her  a  prime  favorite  with  the  children  in 
every  part  of  the  city.  As  she  went  into  the 
primary  grades,  many  times  the  faces  of  the  little 
ones  could  not  and  did  not  give  sufficient  ex- 
pression to  their  joy,  and  the  tiny  hands  would 
break  forth  into  exultant  cheers  for  her  whom 
they  loved  and  whose  personality  and  influence 
will  long  live  in  their  memory. 

She  was  invited  to  represent  the  United  States 
at  the  International  Congress  of  Art  Educators 
and  Manual  Training  Teachers  which  was  held 
in  London  in  August  of  1908.  It  was  impos- 
sible for  her  to  attend  on  account  of  the  pub- 
lishing of  her  books  at  that  time.  They  were 
loath  to  accept  her  refusal,  and  a  second  and 

263 


ART  AND  ARTISTS  OF  INDIANA 

more  urgent  invitation  and  a  ppeal  was  sent,  beg- 
ging her  to  come.  There  were  only  four  persons 
in  the  United  States  to  whom  this  invitation  was 
extended,  which  shows  the  rank  of  her  interna- 
tional reputation  as  a  great  organizer,  an  origi- 
nator, and  a  brilliant  supervisor. 

Miss  Seegmiller's  philosophy  included  the 
thought  that  "art  is  not  for  the  elect  only,  but  is 
a  verity  for  the  great  mass  of  people."  With 
this  idea  in  mind,  she  set  about  to  create  a  greater 
use  of  the  local  museum  by  the  teachers  and 
children.  The  Art  Association  of  Indianapolis 
appreciated  the  possibility  of  a  larger  field  of 
usefulness  from  such  cooperation,  and  in  1908 
appointed  a  public  school  committee — Wilhel- 
mina  Seegmiller,  chairman,  Georgia  Alexander, 
Louis  Bacon,  Calvin  N.  Kendall,  and  Mary 
Nicholson — with  the  expectation  of  enlarging 
the  institution's  value  to  the  community  by  ad- 
mitting free  to  the  museum  the  teachers  and 
pupils  of  the  schools  of  the  city;  by  providing 
weekly  illustrated  lectures ;  by  providing  the  art 
teachers  instruction  in  drawing  and  design  at  re- 
duced rates;  and  by  permitting  fifty  advanced 
pupils  in  drawing  free  instruction  in  the  art 
school. 

This  work  has  grown  steadily  since  its  in- 
ception until  thousands  of  children  have  become 
constant  visitors,  and  the  John  Herron  Art  In- 

264 


WILHELMINA  SEEGMILLER 

stitute  is  not  only  a  storehouse  of  art,  but  an 
institution  of  democracy  supplemental  to  the 
work  of  the  public  school,  forming  the  first  illus- 
tration in  the  United  States  of  the  accomplish- 
ment of  cooperation  between  schools  and  the 
larger  use  of  the  museum.  To  the  attainment  of 
this  purpose  Miss  Seegmiller  gave  unsparingly 
of  her  thought  and  time.  Her  untiring  efforts 
and  her  constant  enthusiasm  were  a  large  factor 
in  perfecting  the  actual  arrangement.  The  in- 
spiration of  her  interest  and  work  will  continue 
as  a  vital  influence  in  this  plan,  which  is  conducive 
to  producing  an  art-loving  public.  Florence 
Fitch,  her  successor,  has  continued  the  develop- 
ment of  this  work  without  interruption. 

Wilhelmina  Seegmiller  was  a  Canadian  by 
birth.  She  received  her  early  training  in  the 
Goderich,  Ontario,  schools;  later  she  studied  in 
Toronto.  In  1884  she  moved  to  Grand  Rapids, 
Michigan,  where  she  passed  the  teachers'  exami- 
nation, and  at  the  age  of  eighteen  was  appointed 
a  teacher  in  the  primary  grade  at  the  Wealthy 
Avenue  school,  where  she  gave  such  efficient  serv- 
ice that  later  she  was  appointed  principal  of 
the  school.  During  the  time  she  was  teaching  she 
was  studying  art.  Her  work  attracted  the  at- 
tention of  educators,  and  she  was  appointed  in 
1888  director  of  art  in  the  public  schools  at 
Allegheny,  Pennsylvania.     In  1893  she  entered 

265 


ART  AND  ARTISTS  OF  INDIANA 

Pratt  Institute,  and  immediately  after  her  grad- 
uation went  to  Europe  for  a  short  period,  and 
then  came  to  IndianapoHs  in  the  year  1895  as 
director  of  art  instruction  in  the  public  schools, 
which  position  she  held  until  her  death  in  1913. 

She  was  ever  an  open-minded  student  and  an 
inspiring  leader.  She  possessed  great  executive 
ability  and  power  to  do  important  work;  yet  she 
labored  so  quietly  and  modestly  that  many 
scarcely  knew  she  was  in  their  midst  or  that  she 
was  the  foremost  teacher  of  art  for  children  in 
America.  Her  influence  spread  to  Europe 
through  her  published  work.  The  painful  sud- 
denness of  her  death  was  peculiarly  pathetic. 
Her  work  had  just  reached  a  position  where  it 
was  receiving  the  highest  praise  of  leading  edu- 
cators of  the  country,  while  she  had  undeveloped 
plans  that  would  have  added  very  materially  to 
the  advancement  of  art  education. 

It  was  characteristic  of  one  who  was  a  lover,  a 

revealer,  and  a  creator  of  beauty,  an  author, 

artist,  and  poet,  that  she  should  be  an  inspiring 

leader  of  her  friends,  and  of  her  teachers,  who 

were  also  her  friends  in  the  truest  sense.     So 

that  her  death  not  only  left  a  gap  in  the  ranks 

of  art,  but  this  charming  and  lovable  woman  who 

had  touched  her  friends  in  a  particularly  fine 

sense  left  a  great  void  in  the  hearts  of  a  goodly 

host  who  will  join  with  her  in  repeating: 

266 


WILHELMINA  SEEGMILLER 

A  Hand-Clasp 

Like  beads  upon  a  rosary 

I   count  the   joys   of   memory: 

Blue  sky  seen  through  an  open  door, 

A  patch  of  sunlight  on  the  floor, 

A  sunny  and  a  shady  spot, 

A  single  blue  forget-me-not. 

Work,  and  rest  at  work-day's  end, 

A   hand-clasp — yea,   a   hand-clasp,    friend; 

And  here  I  pause,  with  thought  of  thee, 

I  lose  the  count  on  my  rosary, 

I  reach  my  hand,  thy  hand  to  take: 

Let's  clasp  once  more  for  auld  sake's  sake. 


267 


XII.    THE  RICHMOND  MOVEMENT 

THE  story  of  the  origin  and  growth  of  a 
municipal  art  gallery  in  a  Middle  West 
city  with  a  population  of  twenty-five  thousand 
is  also  the  story  of  the  development  of  the  ar- 
tistic sense  of  a  people  touched  by  beauty  that 
has  reached  a  point  of  appreciation  that  encour- 
ages creation  in  its  highest  sense. 

The  esthetic  development  of  this  art  center  in 
our  midst  should  be  heralded  as  a  stimulus  from 
the  highest  steeple  of  every  county-seat  within 
the  borders  of  our  state.  We  are  all  seekers 
after  knowledge,  needing  the  encouragement  of 
accomplishment,  knowing  full  well  that  what  has 
succeeded  in  one  place  is  but  an  earnest  of  the 
future,  that  our  educational  system  as  a  whole 
will  not  rest  content  until  the  best  is  embodied 
in  the  curriculum  of  the  entire  educational  sys- 
tem of  the  state. 

The  love  for  art  and  the  possibilities  of  local 
development  in  Richmond  existed  in  an  unusual 
sense  in  the  fertile  imagination  of  Ella  Bond 
Johnston,  who,  with  the  assistance  of  other  ear- 
nest persons,  estabhshed  within  their  midst  an  in- 
stitution whose  roots  have  run  deep  into  the 

268 


THE  RICHMOND  MOVEMENT 

fiber  and  consciousness  of  their  people.  The 
whole  life  of  the  city  has  been  benefited  by  the 
continuous  exhibits  of  the  best  in  art  until  an  op- 
portunity for  art  knowledge  has  been  given  to  a 
host  of  hungry  people. 

The  Art  Association  of  Richmond  was  or- 
ganized in  the  year  1897  by  a  few  public-spirited 
art -loving  citizens.  Ella  Bond  Johnston  held  the 
ofiice  of  president  for  seventeen  years,  and  then 
on  account  of  art  work  in  wider  fields  she  turned 
it  over  to  Mrs.  Paul  Comstock.  The  Hon.  Wil- 
liam Dudley  Foulke  has  been  vice-president  since 
1898 ;  he  was  president  the  first  year.  Strickland 
Gillilan  was  the  first  secretary  and  served  for 
several  years.  The  first  board  of  directors  was 
composed  of  the  superintendent  of  the  public 
schools,  the  president  of  the  school  board,  the 
supervisor  of  drawing,  two  school-teachers,  two 
men  of  the  local  press,  one  lawyer,  one  merchant, 
one  college  professor,  four  artists,  several  club- 
women, and  the  town's  most  distinguished  citizen, 
thus  soliciting  the  vital  interest  of  the  community 
from  the  earliest  inception  of  the  movement ;  and 
since  the  beginning  the  exhibitions  have  been 
open  free  to  all  as  often  as  they  cared  to  come. 

The  expenses  have  been  met  by  annual  dues 
from  association  members  of  fifty  cents  and  five 
dollars  annually  from  sustaining  members.  In 
1905  the  association  became  an  incorporate  body, 

269 


ART  AND  ARTISTS  OF  INDIANA 

with  the  purpose  in  view  of  acquiring  by  pur- 
chase and  donation  a  permanent  collection  of 
works  of  art,  of  giving  appreciative  encourage- 
ment to  all  local  artists,  and  of  holding  exhibi- 
tions of  works  of  art  by  American  artists  and 
craftsmen. 

Beginning  with  1903,  the  city  council  made  an 
annual  appropriation  of  one  hundred  dollars  for 
the  regular  expense  fund.  When  a  new  state 
law  governing  cities  made  such  an  expenditure 
of  public  funds  unlawful,  the  city  attorney  plead- 
ed at  some  length  that  the  widespread  educa- 
tional benefit  derived  from  these  exhibitions  made 
the  matter  above  the  law  and  the  council  agreed 
unanimously  to  appropriate  the  usual  amount 
from  the  public  treasury  for  that  year. 

The  exhibitions  were  first  held  in  a  central 
building  of  the  public  school,  which  was  fur- 
nished gratis  by  the  school  board.  The  exhibi- 
tions took  place  in  June  at  the  close  of  the  school 
year.  The  entire  building  was  transformed  for 
gallery  purposes:  desks  were  removed;  back- 
grounds were  arranged  by  the  use  of  heavy  bur- 
lap over  blackboards;  special  lighting  was  ad- 
justed and  every  detail  planned  to  make  the 
exhibition  of  pictures  show  to  the  best  possible 
advantage.  The  greater  part  of  the  actual  labor 
was  performed  by  the  corps  of  janitors  in  the 
regular  employ,  assisted  by  the  active  members 

270 


THE  RICHMOND  MOVEMENT 

of  the  art  association.  From  its  earliest  incep- 
tion the  exhibitions  included  examples  of  paint- 
ing, sculpture,  etchings,  illustrations,  artistic 
photography,  original  drawings,  pottery,  handi- 
craft in  metal,  bookbinding,  leather  textile,  arid 
weaving. 

In  1903  Daniel  G.  Reid,  a  former  resident  of 
Richmond,  gave  an  annual  purchasing  fund  of 
five  hundred  dollars,  to  be  used  in  buying  one 
painting  from  the  annual  exhibition  to  establish 
a  permanent  collection.  The  first  picture  pur- 
chased was  "The  Duett,"  by  Henry  Mosler.^ 
Other  pictures  added  in  the  succeeding  years 
have  been:  "Late  Afternoon,  Litchfield  Hills" 
by  Ben  Foster;  "Old  Pastures!"  by  Leonard 
Ochtman;  "Hare  and  Hounds"  by  H.  M.  Wal- 
cott;  "At  the  Well"  by  Frank  Vincent  Du 
Mond;  "The  Hopi  Mesa"  by  Albert  L.  Groll; 
"Peonies"  by  Robert  Reid;  "Fiesole,  Florence" 
by  John  C.  Johansen.. 

Other  pictures  have  been  bought  as  there  was 
a  surplus  fund  from  the  expenses,  or  the  gifts 
of  interested  persons.  Until  the  permanent 
collection  numbers  very  many  pictures,  some 
of  which  are:  "Whitewater  Valley"  by  T.  C. 
Steele;  "Blue  Spring"  by  J.  E.  Bundy;  "Roses" 

*  Henry  Mosler  spent  his  boyhood  in  Richmond,  apprenticed 
to  a  cigarmaker.  The  early  charcoal  sketches  that  covered  the 
whitewashed  walls  of  the  store-room  of  the  elder  Mosler  and  the 
small  paintings  in  oil  that  hung  unframed  were  a  premonition  of 
the  talent  and  destiny  of  the  celebrated  artist. 

271 


ART  AND  ARTISTS  OF  INDIANA 

by  Mrs.  H.  S.  St.  John;  "Sunlight  and  Shadow" 
by  John  Vanderpoel;  "In  Wonderland"  by  Mrs. 
Pauline  Dohn  Rudolph ;  "Building  the  Dam"  by 
Charles  C.  Curran;  "In  Verdure  Clad"  by  R.  B. 
Gruelle;  "Sunshine  and  Shadow"  by  Frank 
Girardin;  "November  Day"  by  Charles  Conner. 

Gifts  to  the  Art  Association  are:  "A  Summer 
Afternoon"  by  J.  Ottis  Adams  (presented  by 
ladies  of  the  Tuesday  Aftermath)  ;  "The  Tor- 
toise Fountain"  by  Janet  Scudder  (presented 
by  Warner  Leeds) ;  "A  Corner  of  the  Studio"  by 
Gladys  H.  Wilkinson  ( Whitney-Hoff  Museum 
Purchase,  presented  by  the  International  Art 
Union,  Paris);  "Sketch  for  'Gossip',"  "Mon- 
tana," "Cow  Pasture,  Vermont,"  and  "Spirit  of 
the  Lily,"  by  Walter  Shirlaw,  N.  A.  (gifts  from 
Mrs.  Walter  Shirlaw) ;  "Still  Life,"  by  Wini- 
fred Adams;  "Self"— portrait  by  William  M. 
Chase,  purchased  by  equal  contributions  from 
Warner  M.  Leeds  and  the  Art  Association. 

These  annual  exhibitions  have  become  a  "dem- 
ocratic festival"  for  Richmond,  when  interest  and 
local  pride  are  manifested  by  every  civic  depart- 
ment. The  teachers  and  the  pupils  of  both  public 
and  parochial  schools  study  the  exhibits  in  an 
intelligent  manner.  The  parents  of  the  children 
are  interested;  the  florists  send  plants  and  cut 
flowers  to  beautify  the  building;  the  local  piano 
company  contributed  annually  for  a  number  of 

272 


THE  RICHMOND  MOVEMENT 

years  a  complimentary  concert ;  the  orchestra  and 
city  band  played  gratis  when  invited  to  do  so; 
the  local  papers  furnished  much  helpful  publicity 
to  the  work,  and  the  neighboring  towns  sent 
visitors  in  numbers.  One  marked  result  has  been 
the  better  decorations  of  the  rooms  of  the  public 
schools;  most  of  the  buildings  own  one  or  more 
paintings  by  artists  of  national  reputation,  among 
them  being  the  works  of  Forsyth,  Albright, 
Walter  Palmer,  Carlton  Wiggins,  William 
Wendt,  J.  E.  Bundy,  John  Seaford,  and  Emma 
B.  King. 

Since  its  earliest  inception  the  school  board  has 
lent  hearty  assistance  and  cooperation  to  the  art 
movement  in  Richmond.  When  the  time  came  to 
erect  a  new  high  school  building,  the  work  had  so 
justified  its  existence  and  had  become  such  an 
essential  factor  in  the  school  life  that  a  gallery 
for  the  permanent  hanging  of  pictures  was  con- 
sidered a  potent  factor  in  the  school  work.  The 
architect,  William  B.  Ittner,  of  St.  Louis,  con- 
ceived a  working  plan  that  has  not  been  equaled : 
a  large  auditorium  on  the  first  floor,  the  library 
adjoining  the  art  galleries  on  the  third  floor,  the 
galleries  consisting  of  three  large  rooms  with 
skylights,  electric-light  troughs,  and  a  suitable 
background  for  hanging.  One  of  the  smaller 
rooms  contains  the  ever-increasing  permanent 
collection  of  excellent  pictures.    The  other  rooms 

273 


ART  AND  ARTISTS  OF  INDIANA 

are  used  to  accommodate  the  current  exhibits, 
which  have  increased  in  numbers  through  the 
years  until  there  is  scarcely  a  time  when  there 
is  not  an  interesting  collection  of  pictures  to  be 
seen,  thus  bringing  into  the  midst  of  this  art- 
loving  and  appreciative  people  exhibits  that  are 
the  equal  or  the  same  shown  in  the  Eastern 
museums  of  the  larger  cities. 

The  idea  originated  in  Richmond  and  has  been 
perfected  in  their  public-school  system.  Now 
the  plan  has  ceased  to  be  an  experiment  and  the 
wide  corridors  of  other  high  schools  are  having 
proper  lighting  placed  and  constant  exhibitions 
hung  as  a  permanent  educational  feature.  The 
direct  results  have  been  numerous.  Aside  from 
creating  a  seeing  eye,  higher  thought,  and  an 
art  appreciation,  the  supervisor  of  art  uses  the 
exhibits  in  making  her  lessons  in  drawing,  color, 
and  perspective  better  understood.  The  English 
teacher  finds  them  helpful  in  supplementing  her 
work  in  composition  and  story.  The  exhibits 
create  in  the  child  a  desire,  developing  the  power 
to  do  his  own  exploring;  they  help  him  to  in- 
terpret his  ideas.  Ideas  are  the  result  of  ex- 
perience. 

The  pupils  crowd  the  galleries  whenever  public 
talks  are  given  on  the  pictures,  and  go  volun- 
tarily, alone  or  in  groups,  to  study  the  paint- 
ings because  they  love  them  or  to  talk  of  them 

274 


THE  RICHMOND  MOVEMENT 

with  some  kindred  appreciative  spirit.  One  di- 
rect result  has  been  less  loitering  on  the  streets 
and  less  common  gossip  among  the  pupils.  The 
galleries  are  open  daily  and  at  night  when  the 
night  school  is  in  session.  They  are  used  for 
receptions  to  parents  and  teachers  by  graduating 
classes  of  both  the  high  school  and  the  local  col- 
lege. Many  meetings  of  clubs  are  held  in  the 
gallery  during  the  exhibition  season.  The  Art 
Study  Committee  of  the  Art  Association  holds 
all  its  meetings  there ;  the  Music  Study  Club  has 
placed  pianos  in  the  gallery  and  meets  there 
regularly,  creating  by  these  many  activities  a  so- 
cial center  which  is  spoken  of  by  Henry  Turner 
Bailey  ^  in  the  highest  praise: 

The  Richmond  people  have  produced  a  model  educational 
institution.  Think  of  it!  A  kitchen,  a  gymnasium,  and 
the  oldest  of  the  constructive  arts  on  the  ground  floor 
and  a  library  and  an  art  gallery  on  the  top.  Verily  the 
people  who  have  turned  the  educational  world  right  side 
up  at  last  live  in  Richmond,  Indiana.  They  have  put  the 
solid  living-rooms  of  the  manual  worker  beneath  and  the 
chambers  of  the  imagery  of  the  poet  and  artist  above;  they 
have  builded  at  last  a  sure  house,  fully  equipped  for  every 
good  work  and  word,  a  fit  home  in  which  to  bring  up 
children  who  shall  be  worthy  citizens  of  a  republic. 

It  is  impossible  to  estimate  the  educational 
value  derived  from  this  concentrated  art  move- 
ment for  the  period  of  twenty  years  in  Richmond. 
A  definite  outgrowth  is  an  interesting  colony  of 

*  In  the  "School  Arts  Book,"  April,  1912. 

275 


ART  AND  ARTISTS  OF  INDIANA 

painters  consisting  of  J.  E.  Bundy,  Charles  Con- 
ner (deceased),  Maude  Kaufman  Eggemeyer, 
Anna  Newman,  Charles  Howard  Clawson,  A. 
W.  Cregg,  George  H.  Baker,  Edgar  Forkner, 
Frank  J.  Girardin,  W.  T.  Eyden  (deceased), 
W.  T.  Eyden,  Jr.,  William  A.  Holly,  M.  T. 
Nordyke,  and  Alden  Mote  (deceased),  who  year 
after  year  have  studied  the  works  of  the  Ameri- 
can masters  that  have  been  brought  into  their 
midst.  In  most  instances  this  has  been  their  only 
opportunity  to  see  or  study  art,  but  they  have 
made  the  most  of  this  advantage,  making  noted 
progress  in  their  work.  Their  paintings  are  hung 
annually  and  a  Richmond  prize  awarded  as  well 
as  honorable  mention  to  the  best  canvas  by  a 
local  artist.  A  stimulus  has  been  given  also  to 
the  local  craft  workers,  who  have  steadily  im- 
proved in  their  output. 

In  1896  was  established  what  is  known  as  the 
Indiana  Artists'  Exhibit,  inviting  all  Indiana  ar- 
tists to  send  their  work.  In  1906  the  Mary  T. 
R.  Foulke  annual  prize  of  fifty  dollars  was 
awarded  for  the  first  time  for  the  most  meritori- 
ous painting  shown  by  a  resident  Indiana  artist, 
selected  by  a  jury  of  three  non-resident  artists 
appointed  by  the  board  of  directors. 

From  these  exhibits  Mrs.  Johnston  selected  and 
organized  in  1909  the  Indiana  Artists'  Travel- 
ing Exhibit,  and  sent  it  over  the  state  on  a  circuit 

276 


THE  RICHMOND  MOVEMENT 

of  the  smaller  cities.  This  was  the  first  exhibit 
of  paintings  by  the  artists  of  a  state  to  be  shown 
to  the  people  of  their  own  state.  Mrs.  John- 
ston managed  it  for  three  years  during  the  time 
she  was  chairman  of  the  Art  Committee  of  the 
Indiana  Federation  of  Women's  Clubs,  and  then 
turned  it  over  to  the  succeeding  chairman,  Mrs. 
H.  B.  Burnet.  This  exhibition  has  continued  the 
work  of  the  Federation  through  the  years,  and 
has  met  continuous  success,  there  being  many 
towns  demanding  the  exhibit  and  many  sales  of 
good  pictures.^  There  is  a  thirst  for  beauty  in 
daily  life  that  is  being  satisfied,  proving  that  art 
is  not  the  possession  of  a  cult  but  an  expression 
of  the  people  for  the  people,  and  that  it  reaches 
its  highest  production  when  there  is  a  vital  ex- 
pression of  a  vital  need. 

In  order  to  make  it  possible  to  get  an  exhibit 
for  Richmond  of  the  highest  order  of  merit  at  the 
least  expense,  Mrs.  Johnston  induced  other  large 
cities  of  Indiana  to  join  in  taking  the  same  ex- 
hibit. In  1911  she  organized  the  Indiana  Circuit 
Exhibition  of  Paintings  by  American  Artists, 
which  she  still  manages  and  has  shown  in  Rich- 
mond,   Ft.   Wayne,   Lafayette,    Terre   Haute, 

^The  Indiana  Federation  of  Women's  Clubs  established  the 
Art  Department  in  1902.  The  following  have  served  as  chairmen: 
Mrs.  C.  B.  Woodworth  of  Ft.  Wayne,  1902-1903;  Miss  Eliza 
Niblack  of  Indianapolis,  1904-1908;  Mrs.  Ella  Bond  Johnston  of 
Richmond,  1909-1912;  Mrs.  Mary  Q.  Burnet  of  Indianapolis, 
1912-1917;  Mrs.  Jesse  Riddle,  1917-1920. 

277 


ART  AND  ARTISTS  OF  INDIANA 

Bloomington,  Seymour,  Greensburg,  Vincennes, 
Anderson,  Logansport,  and  Evansville.  Nearly 
all  of  these  cities  are  acquiring,  by  purchase  from 
the  exhibitions,  a  permanent  collection  of  works 
of  art. 

Mrs.  Johnston  has  further  served  the  cause  of 
art  and  brought  honor  to  her  city  and  state  by 
serving  as  chairman  of  the  Art  Department  of 
the  General  Federation  of  Women's  Clubs, 
1912-1916,  and  as  Senior  Docent  in  the  Art 
Galleries  of  the  Panama-Pacific  International 
Exposition  in  1915. 

The  love  of  the  arts  and  a  knowledge  of  what 
is  best  are  being  diffused  throughout  Indiana, 
stimulating  and  inspiring  the  imagination  and 
creating  an  atmosphere  that  will  give  oppor- 
tunity for  native  expression  which  means  in- 
dividuality. 

The  appreciation  of  art  and  the  many  exhibits 
of  Eastern  artists  held  in  Richmond  in  the  last 
quarter  of  a  century  have  done  much  to  encour- 
age any  latent  talent  and  the  local  artists  are 
numbered  by  the  score.  One  of  these  is  Charles 
Conner,  who  in  his  earliest  youth  possessed  a  nat- 
urally artistic  temperament.  He  spent  much 
time  working  in  local  factories  learning  the 
pattern-maker's  trade,  which  he  followed  through 
his  early  life,  devoting  his  spare  hours  to 
his  favorite  pursuit.     His  artistic  talent  found 

278 


CHARLES  CONNER 

expression  at  an  early  period,  and  his  landscape 
sketches  in  black  and  white  as  well  as  oil  and 
water-color  attracted  local  attention  when  he  was 
a  very  young  man. 

He  devoted  some  time  to  music,  playing  the 
cornet  in  the  Conner  orchestra  of  Richmond. 
In  1887  the  Conner  brothers  went  to  California 
and  remained  for  a  number  of  years.  Conner 
continued  his  work  with  the  brush  and  some 
of  his  Western  landscapes  had  much  merit.  On 
his  return  to  Richmond  his  development  as  an 
artist  was  quickly  recognized  and  his  work 
aroused  very  great  interest  when  it  was  first 
shown  in  the  Contemporary  and  Retrospective 
Exhibit  of  Indiana  Art,  held  in  Indianapolis  in 
1903.  He  sent  only  three  pictures,  "A  Wood- 
land Memory,"  "San  Gabriel  Valley,"  and  "A 
Wet  Night  in  February."  Being  the  work  of  a 
hitherto  unknown  artist,  they  were  received  with 
unusual  enthusiasm.  "A  Wet  Night  in  Feb- 
ruary" has  frequently  been  spoken  of  as  his  best 
production.  It  was  hung  at  the  St.  Louis  Ex- 
position in  the  summer  of  1904,  where  his  work 
stood  on  an  equal  footing  with  the  more  widely 
known  artists  of  the  United  States.  This  pic- 
ture was  painted  in  an  old  shop  in  Richmond 
to  exhibit  and  illustrate  some  theory  of  tech- 
nique in  representing  a  misty  night  of  rain  and 
slush  in  a  village  street.    Then,  having  proved  his 

279 


ART  AND  ARTISTS  OF  INDIANA 

point,  in  his  indifferent  and  unrestrained  manner 
he  gave  the  picture  to  a  friend.  His  work  was 
always  an  interpretation  of  the  region  in  which 
he  lived.  The  local  atmosphere,  the  peculiar 
topography  of  hills,  brooks,  and  low-lying  mead- 
ows made  a  constant  appeal  to  the  artist's  in- 
stinct. 

The  ill  health  that  brought  his  life  to  an  un- 
timely close  on  February  15,  1905,  was  a  severe 
handicap  to  his  ambitions,  and  for  many  years 
it  was  a  constant  struggle  to  contribute  the  work 
he  desired  to  the  Richmond  group  of  artists, 
who  recognized  his  especial  gift  in  landscape- 
painting.  J.  E.  Bundy  said  of  him  at  the  time 
of  his  death:  "I  regard  Conner  as  one  of  the 
strongest  painters  in  the  West,  and  in  this  I  only 
voice  the  sentiment  of  other  Western  artists." 
His  work  was  characterized  by  its  broad  and  di- 
rect style,  and  in  this  respect  his  technique  was 
different  from  other  landscape  artists  of  the 
West.  His  pictures  all  reflected  his  originality. 
His  work  was  rugged,  bold,  and  strong,  and  if 
it  excelled  in  any  one  particular  it  was  in  color. 
He  had  an  excellent  conception  of  coloring  and 
his  work  was  always  noteworthy  because  of  this. 

While  Conner's  technique  was  not  perfect,  yet 
few  men  wholly  without  the  training  of  a  master 
have  of  themselves  acquired  such  a  degree  of 
efficiency.    He  protrayed  detail  with  a  few  slight 

280 


JOHN  E.  BUNDY 

touches  of  the  brush,  choosing  for  his  subjects 
typical  Indiana  landscapes.  The  cooling  shades 
of  the  woodland,  the  rural  lane,  and  the  mysteri- 
ous reflections  in  the  shaded  pool  or  the  hazy  and 
distant  horizon — these  were  all  expressed  in  the 
same  simple  manner.  The  accents  of  nature's 
splendor  have  been  caught  in  his  canvases.  He 
painted  because  there  was  a  call  from  his  inner- 
most nature,  a  desire  to  give  voice  to  the  beauty 
of  his  environment. 

Conner's  notable  pieces  of«work  are  to  be  found 
in  various  galleries.  "In  the  Meadow"  is  owned 
by  the  Art  Association  of  Indianapolis,  "Novem- 
ber Day"  by  the  Art  Association  of  Richmond, 
"The  Woodland  Pool"  by  the  Indianapolis  Star. 

In  the  excellent  work  that  has  been  accom- 
plished by  the  Art  Association  and  the  public 
schools  of  Richmond,  no  one  has  lent  more  effi- 
cient aid  or  been  more  determined  for  the  es- 
tablishment of  its  success  or  had  greater  belief 
in  the  largeness  of  the  undertaking  than  John 
Elwood  Bundy.  He  has  given  freely  of  his 
time  and  assisted  in  every  movement  to  further 
this  cause.  He  has  acted  in  the  capacity  of  a 
director  through  many  years;  he  has  encour- 
aged the  younger  and  less  experienced  artists 
that  have  sprung  up  all  around  him  and  who  are 
evidence,  by  the  growth  and  development  of  their 
capacity,  that  the  experiment  has  not  only  proved 

281 


ART  AND  ARTISTS  OF  INDIANA 

of  specific  interest  to  the  cultured  few  or  the 
adaptable  youth,  but  that  it  has  penetrated  into 
the  entire  life  of  the  city,  and  has  proved  con- 
clusively that  whosoever  will  may  appreciate  and 
enjoy  art. 

In  1888  Bundy  became  a  resident  of  Rich- 
mond when  he  took  charge  of  the  Art  Depart- 
ment of  Earlham  College,  where  he  acted  as 
instructor  for  eight  years.  Closely  confined  by 
his  work  of  teaching,  he  found  little  time  to  give 
expression  to  the  great  passion  of  his  life,  and 
in  1896  he  resigned  from  his  position  in  order 
to  devote  his  time  exclusively  to  painting. 

Then,  with  perfect  liberty  and  exemption  from 
every  other  occupation,  he  began  as  if  it  were 
anew  the  study  of  nature,  working  with  his  colors 
and  canvas  with  a  facility  and  ease  of  execution 
that  gave  him  fresh  encouragement.  He  studied 
to  reveal  nature,  her  various  languages  and  the 
story  she  ever  had  to  unfold. 

The  magnificent  trees  of  the  forest  caught  and 
held  his  attention.  He  lived  with  them  from 
the  earliest  spring,  when  the  swaying  branches 
sent  forth  the  bursting  red-brown  buds,  through 
the  stages  of  tender  greens,  into  midsummer, 
when  the  full  leaf  cast  its  welcome  and  cooling 
shadows,  on  into  the  colorful  glowing  tints  of 
the  autumn.  Even  as  the  leaves  left  the  branches 
one  by  one,  he  studied  the  contour  of  the  trees 

282 


JOHN  E.  BUNDY 

against  the  winter  skies.    As  the  seasons  passed 
he   lived   with   the    nature   he   loved,   whether 
illumined  through  and  through  with  the  brilliant 
sunlight  that  cast  mysterious  and  indefinable 
shadows,  or  glittering  with  the  moisture  of  re- 
cent rain,  as  the  patches  of  blue  sky  broke  be- 
tween masses  of  fleecy,  floating  clouds.     This 
has  been  his  schooling,  his  training :  to  see  nature 
as  the  existing  universe  disclosed  her  ideals  and 
gave  inspiration  to  one  who  was  ever  ready  to 
read  and  record,  to  interpret  in  his  own  way  the 
inspiration  that  was  revealed.    He  had  watched 
this  resplendent  earth  from  his  earliest  youth,  and 
now  was  giving  spontaneous  impulse  to  the  latent 
activities  desiring  expression.    Thus  he  has  made 
many  intimate  studies  of  the  woods,  knowing  iti? 
very  essence  and  spirit,  expressing  the  beauty 
and  truth  that  he  knows  so  well  with  a  technique 
that  is  adequate  to  reach  the  individual  who 
also   knows   and  loves  this   aspect   of  nature. 
Bundy's  pictures  of  the  beech  woods  have  at- 
tained a  distinction  that  is  individual,  preserv- 
ing a  feature  of  Indiana's  natural  beauty  that  is 
rapidly  passing  with  the  inroads  of  civilization. 
When  he  was  but  five  years  of  age  he  jour- 
neyed with  his  parents  across  the  new  country 
and  never-to-be-forgotten  Alleghany  Mountains 
by  the  slow-moving  craft  of  the  early  fifties  into 
the  wilderness  of  Indiana.    Bundy  was  born  not 

283 


ART  AND  ARTISTS  OF  INDIANA 

far  from  Guilford  College,  in  Guilford  County, 
North  Carolina,  May  1,  1853,  a  son  of  John 
and  Mary  (Moore)  Bundy,  likewise  born  in 
Guilford  County,  North  Carolina.  In  1858  they 
removed  to  a  farm  near  Monrovia,  in  Morgan 
County,  Indiana,  where  they  lived  the  remainder 
of  their  lives.  The  father  was  one  of  the  honored 
and  substantial  citizens  of  the  community.  Bundy 
was  reared  on  the  old  farm  and  lived  with  his 
parents  until  he  was  twenty-four  years  of  age. 
He  was  educated  in  the  local  schools,  supple- 
mented by  private  study  and  reading,  since  the 
district  schools  did  not  afford  many  advantages 
at  that  time.  When  he  was  eight  years  old  his 
drawings  of  familiar  scenes,  animals  and  persons 
possessed  such  merit  as  to  receive  the  favorable 
comment  of  neighbors.  He  determined  even 
then  that  art  should  be  his  life-work.  As  the 
years  rolled  swiftly  by  he  continued  to  sit  at 
the  feet  of  Mother  Nature,  studying  her  every 
aspect  in  all  her  varied  moods.  At  length,  at  the 
age  of  twenty,  he  went  to  Indianapolis,  where 
he  received  instruction  from  B.  S.  Hays,  then 
considered  the  most  successful  portrait-painter 
in  the  state.  He  was  permitted  to  remain  for 
only  two  weeks,  but  he  gained  the  object  of  his 
desire — that  of  mixing  oil  paints  and  applying 
them  to  canvas.  That  there  was  more  to  learn 
he  did  not  doubt,  but  art  is  long  and  his  entire 

284 


JOHN  E.  BUNDY 

life  was  before  him.  Subsequently  he  studied 
for  a  short  period  in  New  York,  and  was  al- 
lowed the  privilege  of  copying  at  the  Metro- 
politan Museum.  In  the  main  he  was  self-taught 
and  the  wonderful  grasp  of  nature  shown  in  his 
various  canvases  is  the  result  of  his  own  growth 
from  experience. 

In  1886  and  1887  Bundy  resided  in  Martins- 
ville, Indiana,  and  there  had  under  his  instruc- 
tion a  small  class  in  drawing  and  painting.  In 
1875  was  solemnized  his  marriage  to  Mary  A. 
Marlatt,  who  was  born  and  reared  in  Morgan 
County,  Indiana.  They  have  two  sons :  Arthur 
L.  has  inherited  some  of  his  father's  genius  and 
is  a  photographer  in  the  city  of  Richmond ;  Wal- 
ter E.  is  a  civil  engineer  located  in  Chicago. 

Finding  the  opportunity  to  express  himself  in 
Richmond,  Bundy  built  a  home  and  a  studio  on 
the  edge  of  a  woods  and  here  has  contentedly 
worked  at  his  favorite  themes  in  his  own  manner, 
uninfluenced  by  what  the  world  of  art  was  say- 
ing. His  pictures  reflect  his  thought  and  in- 
dividuality. While  many  of  his  earlier  works 
lack  the  spontaneity  of  his  recent  canvases,  yet 
all  are  honest  efforts  showing  the  growth  of 
ability  through  the  years.  He  has  not  found 
lack  of  interesting  subjects  near  his  own  home, 
but  has  painted  there  continuously,  with  the  ex- 
ception of  one  winter  spent  in  California  and 

285 


ART  AND  ARTISTS  OF  INDIANA 

three  summers  in  northern  Michigan.  He  usu- 
ally paints  large  canvases  in  oil  but  recently  has 
painted  a  number  of  smaller  pictures  that  are 
meritorious.  During  1909  and  1910  he  painted 
quite  frequently  in  water-colors.  He  has  ex- 
hibited at  the  John  Herron  Art  Institute,  Penn- 
sylvania Academy,  Corcoran  Art  Gallery,  Na- 
tional Academy,  Chicago  Art  Institute,  and  con- 
tinuously with  the  Society  of  Western  Artists, 
of  which  he  is  a  member.  He  is  represented  in 
John  Herron  Art  Institute  by  "Wane  of  Win- 
ter" and  "Beech  Woods  in  Winter";  in  the  City 
Art  Museum  of  St.  Louis,  Missouri,  by  the 
"Heart  of  the  Beechwoods";  in  the  Richmond 
Art  Gallery  by  "Blue  Spring"  and  "Old  Farm 
in  Winter";  in  Earlham  College  by  "Early 
Spring"  and  a  portrait  of  Professor  Morgan. 
His  paintings  are  found  in  the  Vincennes  Art 
Association;  Marion  Art  League;  Muncie  Art 
Association ;  Rockf ord,  Illinois,  Art  Association ; 
Sioux  City,  Iowa,  Art  Association — as  well  as  in 
many  private  homes.  He  received  the  Richmond 
prize  in  1907  and  1909  and  the  Mary  T.  R. 
Foulke  prize  in  1911,  and  the  Indianapolis  Art 
Association  prize  in  1917.  Two  of  his  pictures, 
"Sycamores  on  Clear  Creek"  and  "Winter  on 
Whitewater,"  were  selected  by  Gardner  Symons 
to  be  shown  at  the  National  Arts  Club  exhibits 
in  1914. 

286 


JOHN  E.  BUNDY 

One  collector,  no  longer  young  and  suffering 
from  an  infirmity  that  does  not  permit  him  to  go 
about  without  assistance,  turns  to  his  pictures, 
the  work  of  America's  greatest  painters,  and  tells 
of  the  joy  he  derives  and  the  varied  emotions 
awakened  by  this  Inness  or  that  Wyant,  the  en- 
joyment of  Homer's  vigorous  work,  of  Eaton's 
stilly  pines,  of  Tryon's  lovely  quiet  music  in 
color;  the  charm  of  each  work  produced  its  own 
sensation  of  joy,  but  in  a  letter  to  Bundy  in  which 
he  spoke  of  the  emotional  impulse  he  said:  "When 
I  enjoy  your  pictures,  I  forget  all  about  art 
and  artists.  A  curtain  is  pulled  back  and  I  see 
nature.  The  years  that  have  passed  since  my 
toyhood  are  obliterated  and  I  am  again  a  care- 
free boy  in  the  beech  woods,  with  the  squirrels 
and  birds  about  me  and  the  odor  of  autumn 
woods  filling  my  nostrils  at  each  breath.  This  in- 
valid-chair from  which  I  write  never  existed. 
You  have  helped  me  cheat  Father  Time  and 
robbed  disease  of  its  prey  for  a  spell."  So  Bun- 
dy's  pictures  go  out  with  their  message  and  he 
is  content.  His  choice  of  motif  and  his  interpre- 
tation of  nature  make  their  appeal.  The  un- 
initiated understand  them  because  they  are  with- 
out the  alloyed  incomprehensibilities  but  are  an 
open  interpretation  such  as  all  can  understand, 
perhaps  not  so  full  of  mystery  or  poetry  as  some, 
but  adequate  to  express  the  prose  of  nature. 

287 


ART  AND  ARTISTS  OF  INDIANA 

Anna  Newman,  who  by  birth  and  early  art 
training  belongs  to  the  Richmond  circle  of  artists, 
has  lived  for  a  number  of  years  in  Ft.  Wayne, 
where  she  has  not  been  so  absorbed  in  super- 
vising the  art  of  others  as  to  neglect  the  work  to 
which  she  has  given  her  first  allegiance.  She 
began  her  study  of  art  under  J.  E.  Bundy  and 
later  entered  the  Chicago  Art  Institute,  where 
she  spent  five  years  in  earnest  work,  finishing 
the  course  in  1905.  She  has  about  equally  divided 
her  time  between  landscape  and  portrait-paint- 
ing. 


288 


BOOTH  TARKINGTON 


WAYMAN  ADAMS 


XIII.    ARTISTS  THROUGHOUT 
INDIANA 

DURING  the  past  century  the  state  has  had 
its  artists  in  the  varying  outlying  districts 
in  the  extreme  north  as  well  as  along  the  Ohio 
River.  Usually  we  find  the  artist  alone,  dream- 
ing his  own  dreams,  working  out  his  own  prob- 
lems. Some  fifty  years  ago  one's  attention  was 
attracted  to  the  new  Studebaker  wagons  through- 
out the  country,  bright  with  fresh  green  paint 
and  oval  landscapes.  The  ready  criticism  was 
that  the  water  was  too  white  and  the  trees  too 
green.  Soon  afterward  the  colorful  landscape 
had  been  properly  toned  by  the  dust  of  the  high- 
way and  April  showers.  Putting  finishing 
touches  on  these  wagons,  working  at  the  sign- 
painter's  trade  in  South  Bend,  Indiana,  were 
but  the  stepping-stones  of  L.  Clarence  Ball  to 
an  expression  of  the  inner  life  and  real  nature 
of  the  man  who  became  the  best-known  artist 
in  the  northern  part  of  the  state. 

Ball  was  born  in  Mount  Vernon,  Ohio,  July 
4,  1858.  In  his  fifth  year  his  parents  removed  to 
Goodland,  Indiana,  where  he  spent  his  early  life. 
His  father  thought  to  have  him  follow  his  own 

289 


ART  AND  ARTISTS  OF  INDIANA 

occupation  at  the  forge,  but  the  inchnation  of 
the  young  son  tended  toward  nature  in  her  vari- 
ous moods.  He  spent  all  his  spare  time  in  the 
woods,  along  the  banks  of  creeks,  which  ever  had 
a  peculiar  fascination  for  him. 

At  the  age  of  twelve  he  was  left  without  the 
parental  protection  of  the  strong  arm  of  the 
village  smithy,  but  not  before  the  father  had 
recognized  and  encouraged  his  son  in  his  youth- 
ful talent.  Then  came  the  struggle  for  existence 
and  for  an  education. 

South  Bend  became  his  home  in  1882.  Here 
he  made  his  way  in  commercial  affairs,  eventually 
becoming  connected  with  the  South  Bend  En- 
graving Company.  He  won  for  himself  a  place 
in  the  community  and  the  hearts  of  the  people 
by  his  broad  and  varied  interests.  As  the  com- 
munity artist  he  became  the  center  of  a  circle  of 
friends  who  admired  his  splendid  character  and 
his  great  versatility,  with  head,  heart,  and  hand 
working  in  unison.  When,  on  October  9,  1915, 
death  took  him  unexpectedly  in  his  vigor  and 
manhood,  it  was  a  blow  to  his  group  of  staunch 
friends. 

Nature  with  her  infinite  variety  always  called 
to  him;  every  spare  moment  was  spent  in  the 
open.  He  expressed  himself  not  only  in  the  ar- 
tists' medium  of  oil  and  water-colors,  but  in 
verse.     Something  of  his  keen  observance,  his 

290 


L.  CLARENCE  BALL 

faithfulness  to  things  as  they  were,  as  well  as 
his  love  for  the  woods  and  streams,  the  trees  and 
sky,  the  life  of  the  people,  all  of  which  he  re- 
peatedly used  for  his  motifs,  must  have  been 
gained  as  a  boy  in  the  country  when  nature  was 
his  chief  friend  and  in  her  moods  and  changes 
he  found  his  only  diversion.  The  time  soon  came 
when  he  could  follow  his  natural  inclinations. 
He  began  his  art  work  most -earnestly,  and  in- 
terpreted his  love  for  nature  on  canvas  as  best 
he  could.  Then  came  his  one  opportunity  for 
technical  training.  He  spent  two  winters  in  New 
York  City,  where  he  attended  night  classes  at 
the  National  Academy  for  the  study  of  the  model 
and  the  antique.  During  the  day  he  visited  the 
galleries  and  studios  of  artists,  filling  his  mind 
with  their  accomplishments.  "But  his  best  and 
greatest  teacher  was  the  one  of  his  childhood, 
when  his  classmates  were  the  squirrels  and  chip- 
munks and  his  school-house  was  the  woodland; 
what  nature  gave  to  him  he  could  never  lose  or 
misuse.  His  paintings  have  been  hung  beside 
the  paintings  of  artists  of  wider  experience  and 
they  have  not  suffered  by  comparison." 

Ball  was  preeminently  an  outdoor  painter,  con- 
sidering everything  that  attracted  his  artistic 
sense  suitable  and  legitimate  subjects.  The  ani- 
mals of  the  field  are  often  a  part  of  his  landscape 
work,  and  their  story  is  told  with  truth  and  ac- 

291 


ART  AND.  ARTISTS  OF  INDIANA 

curacy.  His  atmospheric  effects  are  good,  and 
he  succeeded  in  expressing  phases  of  the  elusive 
passing  clouds  as  few  other  artists  in  Indiana 
have  done.  Many  of  his  interesting  compositions 
have  been  chosen  from  the  beautiful  undulating 
country  and  picturesque  swamps  in  the  vicinity 
of  the  Kankakee  and  St.  Joe  Rivers.  Ball's 
sketches  of  the  Kankakee  district  have  attracted 
attention  in  more  than  one  direction.  Apart 
from  their  artistic  merit  they  possess  some  his- 
torical significance.  The  sedgy  marsh  has 
changed  with  the  onward  march  of  time  and 
civilization.  The  rambling  Kankakee,  which  was 
wont  to  dally  by  the  wayside  and  was  once  the 
favorite  haunt  of  nature  lovers  and  fishermen, 
is  now  a  straight  rigid  ditch  and  the  undulated 
marshes  are  a  thing  of  the  past.  Great  fields 
of  waving  grain  have  taken  their  place.  Ball's 
early  sketches  are  the  only  visible  reminders  left 
to  those  who  loved  the  original  stream  in  its 
meandering  and  halting  course.  An  Eastern 
publishing  house  once  called  upon  him  for  in- 
formation and  illustrations  of  the  original  Kan- 
kakee and  its  basin,  finding  this  the  only  source 
for  available  material. 

He  spent  much  time  in  his  later  years  at  his 
summer  home  on  Diamond  Lake,  near  Cassap- 
olis,  Michigan.  His  summer  work-shop  was 
the  upper  room  over  the  boat-house.    This  large 

292 


ALEXANDER   ERENSTINOFF 


WAYMAN  ADAMS 


PURCHASED    BY    FRIENDS    OF    AMERICAN    AET    FOR    THE     JOHN    HERRON     ART 

INSTITUTE 


L.  CLARENCE  BALL 

and  spacious  studio  afforded  him  an  excellent 
outlook  and  a  splendid  place  in  which  to  work. 
Ball's  pictures  have  been  hung  with  the  Ameri- 
can Water-Color  Society  of  New  York;  the  New 
York  Water-Color  Club;  the  Art  Club  of  Phila- 
delphia; the  Boston  Art  Club;  the  Pennsylvania 
Academy  of  Fine  Arts ;  the  Cincinnati  Museum ; 
the  Chicago  Art  Institute ;  the  John  Herron  Art 
Institute  of  Indianapolis ;  the  Society  of  Ameri- 
can artists,  and  the  World's  Fair  at  St.  Louis. 

As  he  painted  his  whole  being  gave  vent  to 
the  impulse  of  the  beautiful.  He  sang  of  na- 
ture in  verse  even  as  he  transferred  nature  to 
his  canvas.  This  hitherto  unpublished  poem, 
which  he  scribbled  on  note-paper,  is  equally 
happy  and  reminiscent  in  its  vein : 

'Tis  many  long  years  since  last  I  stood 

A  barefoot  boy  within  this  wood^ 

But  the  same  sun  is  shining  as  brightly  to-day 

As  it  did  long  ago  when  its  glittering  ray 

Fell  lightly   around   as   alone  here   I   sat 

With  fish-hook  and  line  and  a  torn  straw  hat. 

Watching  the  ripples   that  silently  played 

'Neath  this  cool  mossy  bank  in  this  willow's  shade. 

In  the  quiet  wood  no  sound  is  heard, 

Save  the  tuneful  note  of  the  mocking-bird 

And  the  mournful  coo  of  the  turtle-dove 

From  her  perch  on  the  bough  in  the  elm  above. 

The  spring  that  gurgles  with  ceaseless  flow 

To  join  the  river  a  mile  below. 

Where  the  water-wheel  splashes  with  musical  rhyme 

Through  the  long  sultry  days  of  a  sweet  summertime. 

293 


ART  AND  ARTISTS  OF  INDIANA 

'Neath  the  shade  of  the  willows  that  gracefully  sway 
In  the  breeze  from  the  field  of  new-mown  hay, 
Away  from  the  hot  burning  rays  of  the  sun. 
The  cattle  gather  one  by  one 
To  quench  their  thirst  in  the  shallow  stream 
That  flows  'neath  the  bending  branches  green. 
Knee-deep  in  its  cooling  depths  they  wade. 
Content  to  stand  in  the  welcome  shade. 

Near  the  water's  edge,  o'er  the  slender  reed 

The  dragon-fly  flits,  pausing  only  to  heed 

The  low  murmuring  sound  of  the  brook  in  its  flow 

O'er  the  moss-covered  stones  'mong  the  shadows  below. 

Where  the  flowers,  reflecting  the  wavelets  bright. 

Smile  meekly  down  with  a  sweet  delight 

On  the  ripples  that  play  on  its  pebbly  shore 

As  it  did  long  ago  in  the  days  of  yore. 

In  the  meadows  bright  with  clover  red, 
Bedecked  with  flowering  forms  o'erspread. 
The  song  of  the  lark  and  the  hum  of  the  bee 
Recall  to  my  heart  fond  memory. 
When  a  barefoot  boy  I  was  wont  to  rove 
With  a  hook  and  a  line  in  the  shady  grove. 
And  the  spot  where  the  sunfish  sported  free 
'Neath  the  genial  shade  of  the  old  elm-tree. 

I  am  sitting  to-day  in  the  selfsame  place. 
But  Time  has  altered  the  lines  of  my  face. 
My  heart  knew  no  care  or  sorrow  then; 
But,  happy  and  gay  as  the  sprightly  wren 
That  chirped  in  the  boughs  above  my  head, 
I  would  sit  for  hours  where  the  sunlight  shed 
Its  golden  rays  in  the  rippling  brook. 
Tempting   the   fish   with   my   baited   hook. 

A  last  lingering  look  o'er  the  scenes  I  love  best. 

For  the  sun  slowly  sinks  in  the  bright  crimson  west. 

The  robins  have  flown  to  their  homes  'mong  the  leaves, 

And  swallows  dart  past  to  their  nests  'neath  the  eaves ; 

Merrily  up   from  the  dew-laden  grass. 

The  cricket  chirps  gayly  to  me  as  I  pass; 

To   the   neighboring   woodland   the   crows   take   their 

flight; 
Daylight  is  fading,  'twill  soon  be  night. 

294 


L.  CLARENCE  BALL 

In  the  fragrant  meadows  now  dewy  and  damp 
The  fireflies  are  lighting  their  miniature  lamps. 
Sparkling  like  myriads  of  bright  little  stars 
Unceasingly  through  all  the  long  night  hours. 
Across  my  path  the  night-hawk  shoots; 
In  the  gathering  gloom  the  owlet  hoots; 
And  the  echoes  rise  and  fall  with  the  breeze 
That  softly  plays  'mong  the  rustling  trees. 

In  the  lingering  glow  of  the  bright  evening  sky 
The   pale   new   moon   hangs   her  crescent  high. 
'Tis  the  twilight  hour  when  daylight  dies 
And  scenes  of  the  past  before  me  arise. 
All  the  paths  I  once  trod  I  would  quickly  retrace. 
Could  I  bring  back  the  joys  these  memories  embrace. 
Let  Time  do  his  worst  with  these  relics  of  joy, 
But  these  dreams  of  the  past  he  cannot  destroy. 

L.  Clarence  Ball  discovered  a  scene  worthy 
of  a  great  artist's  interest  when  he  found  in  the 
basement  of  the  court-house  of  South  Bend 
a  young  man  with  the  meagerest  medium  and 
paraphernalia,  surrounded  by  the  loose  sheets  of 
the  supplement  of  a  Chicago  Sunday  Journal, 
copying  the  reproductions  of  some  famous  pic- 
tures hanging  at  that  time  in  the  Chicago  Art 
Institute.  Leon  A.  Makielski  was  in  earnest. 
He  was  doing  the  work  nearest  his  heart  as 
best  he  could ;  the  efforts  of  his  brush  were  hang- 
ing on  the  basement  walls.  However  limited 
the  means  with  which  the  lad  had  painted,  the 
work  was  sufficiently  well  done  to  attract  the 
attention  of  the  passing  artist,  who  paused, 
looked,  and  offered  suggestions  in  reference  to 
materials  and  how  to  use  them.    He  was  urged 

295 


ART  AND.  ARTISTS  OF  INDIANA 

to  turn  his  attention  to  the  open  country  and 
study  nature  at  first  hand. 

Young  Makielski's  parents  came  from  Poland 
in  1881  and  first  settled  at  Morris  Run,  a  little 
mining  town  in  Pennsylvania,  where  he  was 
born  on  May  17,  1885.  He  is  one  of  twelve 
children,  all  artistically  inclined.  When  he  was 
five  years  old  his  parents  moved  to  South  Bend, 
Indiana,  where  he  received  his  early  education. 
At  the  age  of  twelve  he  had  already  made  up 
his  mind  to  make  painting  his  life-work.  Two 
years  later  it  was  necessary  for  him  to  assist 
in  supporting  the  family.  He  worked  during 
the  day  and  attended  business  college  at  night, 
studying  bookkeeping.  After  finishing  the 
course  he  took  a  position  that  did  not  prove  very 
arduous,  and  he  began  to  dream  and  paint. 
Fortunately  enough,  his  painting  met  the  ap- 
proval of  his  employer  and  he  was  encouraged 
to  continue.  He  soon  covered  the  office  walls 
with  his  efforts,  which  often  attracted  the  atten- 
tion of  those  who  came  in  and  occasionally  a 
sale  was  made.  This  served  to  strengthen  his 
determination  to  be  an  artist. 

In  1903  he  entered  the  Art  School  of  the  Chi- 
cago Art  Institute,  where  he  remained  for  one 
year.  He  entered  again  in  1905,  continuing  un- 
til 1909.  In  the  summer  of  1906  he  was  invited 
to  spend  a  fortnight  with  a  group  of  artists  who 

296 


LEON  A.  MAKIELSKI 

have  a  summer  home  on  Fox  River,  near  Oregon, 
IlHnois.  His  rapid  advancement  and  earnest- 
ness caused  the  invitation  to  be  extended  and 
the  entire  summer  was  spent  in  the  colony,  his 
pictures  being  hung  in  the  common  studio.  After 
this  he  spent  four  summers  sketching  in  Eagle's 
Nest  Camp  under  the  direction  of  Ralph  Clark- 
son. 

In  1908  he  received  the  John  Quincy  Adams 
Foreign  Traveling  Scholarship.  On  August  19, 
1909,  he  sailed  for  Paris,  where  he  made  his  head- 
quarters for  four  years.  He  spent  some  time 
studying  the  great  galleries  of  Italy,  England, 
Germany,  Poland,  Belgium,  Holland,  and  Aus- 
tria. He  specialized  in  portraiture,  exhibiting  in 
the  Salon  des  Societes  des  Artists  Fran^ais  in 
1910  and  1911;  each  time  he  submitted  two  por- 
traits in  oil,  which  were  very  well  hung. 

Leon  Makielski  returned  to  America  in  the 
summer  of  1913.  After  spending  several  weeks 
visiting  Eastern  galleries,  he  returned  to  South 
Bend  to  execute  some  orders  and  give  an  ex- 
hibition. On  January  22, 1915,  he  was  appointed 
instructor  of  painting  and  free-hand  drawing  in 
the  department  of  architecture  in  the  University 
of  Michigan. 

Robert  W.  Grafton  was  born  in  Chicago  in 
December  of  1876.  He  now  makes  his  home 
and  has  his  studio  in  Michigan  City,  and  In- 

297 


ART  AND  ARTISTS  OF  INDIANA 

diana  is  nothing  loath  to  number  him  among  her 
favored  artists.  He  began  his  study  of  art  at 
the  Art  Institute  in  Chicago,  where  he  remained 
for  four  years.  In  1899  he  went  to  Paris  and 
worked  in  the  JuHen  Ateher,  where  he  gained 
that  strong  sweep  of  the  brush,  the  subtle  mas- 
tery, and  the  beauty  of  coloring  so  characteristic 
of  his  later  canvases. 

Upon  his  return  to  America  he  first  opened  a 
studio  in  Chicago,  where  he  won  many  admirers. 
In  1906  he  was  vice-president  and  later  president 
of  the  Palette  and  Chisel  Club ;  he  also  served  on 
the  exhibition  committee  of  the  Municipal  Art 
League. 

The  year  1908  was  spent  in  Holland,  giving 
special  attention  to  the  Dutch  genre,  in  which 
he  was  very  masterful.  In  1913  he  again  spent 
some  time  studying  in  Paris  and  its  environs, 
bringing  home  many  interesting  canvases.  In 
the  autumn  of  1908  he  exhibited  some  of  his  work 
at  Ft.  Wayne,  under  the  auspices  of  the  local 
Art  Association,  which  resulted  in  several  com- 
missions for  portraits.  The  one  of  Mrs.  Samuel 
Hanna  was  awarded  the  Foulke  prize  at  the 
Richmond  exhibition  in  1910. 

In  Richmond  he  painted  portraits  of  a  number 
of  prominent  citizens,  among  them  Richmond's 
esteemed  pioneer,  Timothy  Nicholson,  of  which 

298 


ROBERT  W.  GRAFTON 

a  writer  in  the  Outlook  of  June,  1911,  comment- 
ing on  the  first  view  in  the  local  gallery,  says :  ^ 

It  was  a  beautiful  occasion  when  the  people  of  Richmond 
came  out  to  the  gallery  in  numbers  to  see  the  portrait  of 
one  of  their  leading  citizens,  their  "grand  old  man,"  that 
had  just  been  painted  by  Robert  Grafton.  Honors  were 
about  equally  divided  between  the  sitter  and  the  artist 
who  had  done  his  work  so  well.  Was  not  this  community 
interest  suggestive,  at  least,  of  that  earlier  day  when  a 
painting  by  a  local  artist  was  carried  in  triumph  by  the 
citizens  down  the  streets  of  Florence.? 

"The  Cradle  Song,"  a  Dutch  interior  painted 
while  in  Holland,  attracted  such  favorable  com- 
ment in  art  circles  that  it  was  purchased  by  an 
Eastern  art  publishing  company  for  reproduc- 
tion. The  picture  entitled  "Aged  Haven  Meis- 
ter"  was  hung  in  the  Paris  Salon.  The  accom- 
panying portrait  of  George  Ade,  Indiana's  hu- 
morist, was  painted  for  Purdue  University,  his 
alma  mater,  of  which  he  is  one  of  the  trustees. 
The  drawing  is  fine  and  the  color  is  handled 
with  power  and  feeling. 

Roy  Trobaugh  is  an  artist  who  works  alone  in 
the  city  of  Delphi.  He  loves  color  and  sees  it 
with  a  sensitiveness  and  a  comprehension  that  is 
extremely  interesting  and  that  at  first  may  be 
misunderstood  by  the  uninitiated.  At  times,  in 
his  employment  of  juxtaposed  crude  colors,  his 
work  has  the  effect  of  the  ultra-impressionistic 
school,  but  seen  at  the  proper  distance  it  is  very 

*Ella  Bond  Johnston. 

299 


ART  AND  ARTISTS  OF  INDIANA 

successful  in  conveying  the  brilliancy  of  sun- 
light on  meadow  and  hillside.  Trobaugh  has  an 
eye  for  color,  and  the  dazzling,  vibrating  light 
of  nature  is  not  beyond  his  grasp  and  rendition. 

In  the  year  1888  a  group  of  students  in  the  city 
of  Ft.  Wayne,  Indiana,  decided  to  form  a  class 
to  work  under  the  direction  of  some  artist  of 
recognized  ability  and  training.  J.  Ottis  Adams 
has  the  honor  of  organizing  this  embryo  art 
school,  which  met  in  the  historic  Hamilton 
mansion  on  Clinton  Street.  To-day^  there 
stands  in  the  very  heart  of  the  business  dis- 
trict of  Ft.  Wayne  the  valuable  property  of 
the  Art  Association,  whose  neighbors  are  the 
handsome  library  building  and  the  magnificent 
new  home  of  the  Young  Women's  Christian  As- 
sociation. 

The  Art  Association's  history  is  illuminative 
of  the  public-spirited  work  done  throughout  the 
length  and  breadth  of  Indiana  by  groups  of 
cultivated  men  and  women.  Fifteen  directors 
make  up  the  membership  list  of  the  Art  School 
of  Ft.  Wayne,  and  upon  their  shoulders  falls 
the  responsibility  of  seeing  that  the  taxes  are 
paid,  the  coal  bills  met,  and  ends  made  to  come 
together  generally.  This  may  not  seem  to  de- 
mand any  particular  artistic  bent,  but  those  who 
have  insight  into  such  matters  know  that  finance 
is  indeed  a  fine  art  and  that  the  business  depart- 

300 


RIVER  VIEW  ROW 


RANDOLPH  L.  COATS 


OWNED   BY    ART    ASSOCIATION    OF   INDIANAPOLIS 


HOMER  G.  DAVISSON 

ment  of  any  organization  demands  a  rare  appre- 
ciation for  detail.  It  is  a  matter  of  art  school 
history  that  the  funds  for  carrying  on  the  work 
have  been  collected  by  half-dollars  and  that  a 
goodly  sum  filled  the  treasury,  which  was  spent 
with  generous  hand  for  public  art  exhibitions. 

In  the  course  of  its  three  decades  the  Art  As- 
sociation has  had  but  three  presidents.  John 
Ross  McCulloch  was  the  first  to  fill  this  office; 
Dr.  Albert  E.  Bulson,  Jr.,  followed;  Mrs.  Clark 
Fairbank  was  president  for  a  number  of  years, 
and  under  her  leadership  many  things  were  ac- 
complished for  the  development  of  art.  Her  deep 
desire  that  the  school  be  raised  to  a  higher  de- 
gree of  efficiency  resulted  in  the  engagement  of 
Homer  Gordon  Davisson  as  instructor  of  the  art 
classes.  In  selecting  Davisson  the  board  was 
particularly  fortunate.  He  has  an  almost  divine 
gift  for  teaching,  and,  having  himself  studied 
under  the  best  landscape  and  portrait  teachers  of 
the  old  world,  reflects  no  little  glory  on  Ft. 
Wayne  by  his  canvases.  Since  his  affiliation  with 
the  school  he  has  brought  together  a  group  of 
young  students  who  have  both  perseverance  and 
enthusiasm.  Pupils  from  the  public  schools  are 
given  scholarships  in  the  Saturday  morning 
classes  through  Davisson's  generosity,  and  adult 
students  form  the  day  and  evening  classes.  In 
cooperation  with  the  board  of  directors,  public 

301 


ART  AND  ARTISTS  OF  INDIANA 

exhibitions  are  held  from  time  to  time,  and  the 
large  number  of  visitors  demonstrates  the  rapidly- 
growing  interest  Ft.  Wayne  is  evincing  in  art. 

It  was  while  instructor  of  the  little  art  school 
in  the  Hamilton  garden  that  J.  Ottis  Adams 
had  as  his  pupil  his  charming  and  talented  wife, 
then  Miss  Winifred  Brady.  Mrs.  Adams  ex- 
hibits with  her  husband  and  her  canvases  have 
always  a  group  of  admirers.  Another  pupil  of 
the  Ft.  Wayne  School  of  Art  is  Norah  Hamil- 
ton, whose  etchings  are  shown  in  the  larger 
museums.  Her  cousin,  Jessie  Hamilton,  is  also 
an  etcher  of  rare  charm,  and  her  portraits  in  oil 
give  evidence  of  her  study  with  Cecilia  Beaux. 

The  directors  feel  that  the  school  is  still  in  its 
infancy,  that  the  future  holds  great  things,  and 
they  merely  ask  strength  to  do  the  work  before 
Miem. 

Katherine  H.  Wagenhals,  of  Ft.  Wayne,  is 
a  talented  young  artist  of  the  Hamilton  family. 
Her  opportunities  for  study  have  been  in  the 
East  and  in  Paris,  where  she  entered  the  Acad- 
emic Moderne.  She  received  the  Art  Associa- 
tion prize  of  the  John  Herron  Art  Institute  in 
1916. 

An  interesting  and  successful  experiment  in 
pottery  has  been  conducted  at  Cambridge  City 
for  a  number  of  years  by  Elizabeth  G.,  Mary 
F.,  and  Hannah  B.  Overbeck.     Their  work  is 

302 


INDIANA  ARTISTS 

largely  in  the  applied  arts.  Their  pottery  was 
established  in  1911,  and  many  successful  pieces 
have  been  shown  in  museums  and  in  the  arts 
and  crafts  societies.  The  work  is  done  entirely 
by  hand  on  a  potter's  wheel,  insuring  individual 
shapes.  They  prepare  their  own  clay,  making 
a  particularly  hard  body  especially  fitted  for 
malt  glazes.  Two  methods  of  decoration  are 
used — glaze  inlay  and  carving.  The  glazes,  the 
glaze  inlay,  as  well  as  the  form  and  decoration, 
are  all  original.  Each  piece  is  given  individual 
study,  and  the  shapes  and  designs  are  invariably 
both  useful  and  beautiful. 

A  miniature-painter  who  has  found  work  with- 
in the  state  is  Helen  M.  Goodwin  of  Newcastle. 
Aside  from  her  general  art  work,  she  studied 
miniature  under  Madame  La  Forge,  at  FAcad- 
emie  Julien  in  Paris.  It  has  been  said  that  the 
art  spirit  of  Emily  Griffin  Hyde  has  permeated 
the  entire  village  of  Spiceland,  where  she  has 
lived  and  inculcated  her  belief  in  the  beautiful. 
Lola  Alberta  St.  John  of  Albany  has  made  a 
steady  growth  in  her  art  work.  Another  artist 
of  La  Porte,  Indiana,  is  Alice  C.  Winn,  who 
after  studying  much  abroad,  especially  the  do- 
mestic hfe  of  Holland,  has  come  to  create  a 
domestic  life  in  Indiana,  still  finding  it  possible 
to  devote  some  time  to  art. 

The  charming  personality  of  Evaleen  Stein 
303 


ART  AND  ARTISTS  OF  INDIANA 

of  Lafayette  is  always  expressed  in  her  work, 
whether  in  the  poems  of  nature  or  when  she  be- 
comes a  Httle  girl  in  imagination  and  pours  out 
the  charming  stories  that  seem  so  real  and  are 
loved  by  the  younger  generation.  Many  of  her 
poems  and  much  beautiful  prose  she  engrosses  on 
parchment,  with  a  border  design,  and  illumined 
with  the  care  and  radiance  of  the  monks  of  old. 
Her  more  recent  poems  are  renditions  of  subtilty 
that  transport  one  into  the  land  of  Japan. 

Edna  Browning  Ruby,  born  in  Lafayette,  In- 
diana, is  the  daughter  of  Captain  and  Mrs.  W. 
F.  Ruby.  Part  of  her  time  is  spent  in  her  native 
city,  but  the  greater  part  in  Chicago,  New  York, 
and  Philadelphia,  where  she  is  actively  engaged 
in  her  professional  designing  of  textiles,  such  as 
carpets,  tapestries,  silks,  and  lace.  Her  suc- 
cess is  due  to  originality  and  to  practical  knowl- 
edge of  the  technical  details  and  limitations  of 
the  machines  and  looms  that  print  and  weave 
these  fabrics.  Her  knowledge  was  gained  by 
actually  weaving  and  printing  her  own  designs 
and  operating  the  looms  and  machines  in  the 
factories  and  manufacturing  plants  of  the  East. 
She  also  designs  interiors  of  churches  and  build- 
ings, art  glass,  mosaic,  wall-paper  and  craft 
work,  carrying  her  design  out  into  the  finished 
product. 

For  the  two  years  1911  and  1912  she  was  a 
304 


PORTRAIT  OF  MISS  ELIZABETH  GREER 

HOLCOMB  PRIZE,  1919 


S.  P.  BAUS 


INDIANA  ARTISTS 

member  of  the  faculty  of  the  John  Herron  Art 
School  as  instructor  and  director  of  design  in 
the  applied  art  department.  Prior  to  this 
she  had  spent  more  than  the  usual  time  in 
study.  She  began  in  the  Chicago  Art  Institute, 
then  went  East  to  further  her  knowledge  in 
designing  applied  and  textile  arts,  in  which  she 
has  met  with  unusual  success. 

The  name  of  Laura  A.  Fry  has  been  so  long 
connected  with  the  chair  of  art  at  Purdue  Uni- 
versity and  her  work  has  been  so  frequently  ex- 
hibited with  the  Indiana  artists  that  we  have 
come  to  recognize  her  as  a  factor  in  our  local  art. 

At  the  early  age  of  ten  years  she  began  her 
art  studies  in  Cincinnati  under  the  direction  of 
Thomas  Noble  in  drawing,  then  under  Rebisso 
in  modeling,  and  under  her  grandfather,  Henry 
L.  Fry,  the  pioneer  woodcarver  of  America,  and 
her  father,  William  H.  Fry,  also  a  woodcarver. 
She  studied  in  New  York  for  some  time. 

Later  she  took  up  the  study  of  pottery,  in 
which  she  had  been  long  interested.  At  Trenton, 
New  Jersey,  she  mastered  the  practical  work- 
ings of  pottery  manufacture  from  the  crude  clay 
of  the  thrower's  wheel  to  the  finished  product 
as  it  comes  from  the  kiln.  From  this  time  on 
she  became  interested  in  the  pottery  kilns  of 
England  and  France,  where  she  continued  her 
studies,  visiting  the  great  potteries  as  well  as  the 

305 


ART  AND  ARTISTS  OF  INDIANA 

European  galleries.  To  her  is  due  the  credit  for 
placing  the  decoration  of  colors,  except  blue,  un- 
der the  glaze  of  Belleek  china,  something  that 
had  been  considered  impossible,  owing  to  the  ex- 
tremely fragile  nature  of  the  material. 

For  many  years  Miss  Fry  belonged  to  a  pot- 
tery club  in  Cincinnati,  organized  for  the  pur- 
pose of  studying  underglaze  decoration.  She 
was  one  of  those  early  interested  in  the  Rook- 
wood  Pottery,  and  to  her  is  due  the  treatment 
that  gives  the  varying  tone  of  color  in  the  back- 
ground. She  also  worked  in  the  Lonhuda  Pot- 
tery, assisting  in  the  early  experiments.  She  has 
studied  the  potteries  of  America,  making  a  col- 
lection in  which  many  of  them  are  represented. 

Much  of  her  life  has  been  spent  as  a  teacher, 
first  in  Cincinnati  and  in  the  summer  school  of 
Chautauqua,  New  York,  and  later  at  Purdue 
University,  where  she  has  endeavored  to  incul- 
cate the  belief  that  drawing  is  a  great  factor  in 
education,  even  though  the  student  of  science, 
philosophy,  or  mathematics  is  destined  to  express 
himself  in  other  than  the  ideal ;  that  if  one  feels  a 
sympathy  for  beautiful  lines  and  adjustments 
and  has  a  color  sense,  he  may  work  it  out  in  what- 
ever way  he  chooses,  gaining  for  himself  a  higher 
appreciation  and  more  thorough  harmony. 

Brown  County  has  gentle  undulating  hillsides 
covered  with  the  magnificent  trees  that  are  in- 

306 


BROWN  COUNTY  COLONY 

digenous  to  the  state.  The  roadways  find  their 
way  with  the  least  resistance  through  the  valley, 
crossing  and  recrossing  the  ever-winding  creeks. 
The  more  aggressive  citizen  hesitates  to  com- 
pete for  scientific  agricultural  results,  and  the 
civil  engineer  has  always  found  it  easier  and  more 
economical  to  build  railroads  entirely  around  the 
county  than  to  go  through,  especially  as  there  was 
no  commercial  reason  for  entering.  Here  are 
found  real  folk,  undisturbed  by  any  modern  con- 
vention or  invention;  here  is  found  a  village  in 
the  valley  as  it  was  built  threescore  and  ten  years 
ago,  surrounded  by  the  rich  riot  of  color  that 
dominates  the  country;  and  close  by  is  the  deep 
running  water  of  Salt  Creek,  where  barefooted 
boys  love  to  play  and  the  populace  find  a  bathing- 
place.  Adolph  Shulz,  on  a  walking  tour  through 
the  state,  discovered  this  locality  and  was  the 
pioneer  artist  to  paint  here.  Here  artists  from 
every  part  of  the  country  now  find  motifs  to 
their  liking,  and  assemble  during  the  outdoor  sea- 
son for  rest  or  work,  until  an  art  atmosphere  and 
bonhomie  has  been  created  that  has  made  the 
fame  of  this  picture  country  and  honest  people 
known  beyond  the  confines  of  Indiana.  T.  C. 
Steele  created  a  permanent  home  and  studios 
here  in  1906.  John  Hafen  (deceased)  spent 
three  years  painting  in  Nashville  and  its  vicinity. 
The  gifted  artists  Adolph  R.  Shulz  and  his 
307 


ART  AND  ARTISTS  OF  INDIANA 

wife  Ada  Walter  Shulz  more  than  a  decade  ago 
came  to  paint  the  charm  of  coloring  and  inter- 
esting people  of  Brown  County.  In  1917  they 
built  a  studio  and  home  in  Nashville  for  perma- 
nent residence.  The  one  phase  finding  expres- 
sion in  the  canvases  and  the  inspiration  of  Mrs. 
Shulz's  work  is  mother  love  and  happy  child- 
hood bathed  in  radiant  light.  To  her  art  is  the 
means  of  elevating  the  race  by  presenting  ideals 
that  have  a  metaphysical  value  as  well  as  pure 
physical  beauty.  Here  the  Shulzes  found  not 
only  varied  themes  but  an  interesting  group  of 
fellow-artists. 

Will  Vawter  was  born  in  Greenfield,  but  for 
many  years  has  made  his  home  on  one  of  the 
many  hills  overlooking  Nashville.  He  was  the 
first  illustrator  of  James  Whitcomb  Riley's 
poems,  but  of  late  years  has  painted  landscapes. 
Lucie  Hartrath  has  spent  nearly  every  summer 
and  autumn  here  since  1910,  and  Felix  Russ- 
mann  has  been  here  for  a  number  of  years. 
There  is  an  annual  assembling  of  artists  into  this 
region,  including  Charles  W.  Dahlgreen,  Wilson 
Irvine,  Louis  O.  Griffith,  Harry  Engle,  Adam 
Emory  Albright,  Angus  Peter  MacDonall,  O. 
E.  Hake,  Carl  R.  Krafft,  George  F.  Schultz, 
J.  P.  Birren,  Frank  Phoenix,  Rudolph  F.  In- 
gerle.  Homer  G.  Davisson,  and  Frederick  Polly. 
Artists  find  among  the  hills  of  Brown  County 

308 


ON  THE  BALCONY  OLIVE  RUSH 

OWNED  BY  ART  ASSOCIATION   OF   INDIANAPOLIS,   ART   ASSOCIATION    PRIZE,   1920 


BROWN  COUNTY  COLONY 

one  of  the  most  interesting  regions  in  our  coun- 
try. In  expressing  its  peculiar  charm  Adolph 
R.  Shulz  says:  "There  exists  the  rare  color  and 
caressing  atmosphere  of  the  South  so  dear  to 
the  artist.  We  also  find  a  people  and  a  civiliza- 
tion as  hospitable  as  its  air,  and  I  firmly  believe 
that  Brow^n  County  is  destined  to  become  the 
greatest  sketching-ground  in  the  Middle  West." 
The  war  caused  the  cessation  of  a  movement 
that  was  well  under  way  to  erect  an  art  gallery 
in  Nashville  which  would  establish  a  center  for 
the  artistic  activities  of  that  locality — a  plan 
of  mutual  interest  to  the  artist  and  to  the  tourists 
who  visit  that  picturesque  portion  of  the  state. 

Gustave  Baumann  first  sought  Brown  County 
to  find  rest  and  seclusion.  While  here  he  found 
the  thing  that  developed  the  artistic  instinct  of 
his  nature  and  changed  the  entire  trend  of  his 
life  from  commercial  work  to  that  of  the  lead- 
ing wood-block  print  artist  of  America.  In  the 
local  newspaper  office  of  Nashville  he  discovered 
an  old  Washington  hand  press,  which  was  in  use 
only  long  enough  each  week  to  print  the  issue  of 
six  hundred  papers.  With  this  press  and  the 
wood-blocks  he  cut,  he  acted  as  his  own  printer, 
and  produced  some  charming  results  which  por- 
trayed the  vivid  coloring  of  the  country  and 
quaint  street  scenes  of  the  village  life. 

Gustave  Baumann  sold  a  picture  and  bought 
309 


ART  AND  ARTISTS  OF  INDIANA 

a  hilltop,  and,  without  thought  of  where  he  was 
born,  he  has  become  an  Indiana  man  as  he  works 
in  his  print-shop  and  studio  in  this  rambling  vil- 
lage and  quaint  county-seat.  Here  he  claims 
the  hearty  friendship  of  members  of  the  com- 
munity, who  do  not  always  welcome  "them  ar- 
tist fellers"  who  summer  in  their  midst. 

Gustave  Baumann  received  his  art  training  in 
Germany,  and  brought  back  from  his  studies 
abroad  a  love  and  knowledge  of  wood-cutting 
from  which  he  has  evolved  prints  of  such  charm 
as  to  change  the  sentiment  of  artists  and  the 
public.  Though  his  efforts  and  management  the 
first  exhibition  of  American  block  prints  and 
wood-engravings  was  assembled  at  the  Chicago 
Art  Institute  in  February,  1916.  It  was  a  dis- 
tinctively modern  showing  of  unusual  interest 
by  the  younger  artists,  many  of  whom  show  the 
influence  of  the  color  wave  that  has  dominated 
the  country. 

Artists  find  an  abiding-place  at  the  Pittman 
Inn,  where  the  veritable  Pittman  acted  as  osten- 
sible host  for  many  years  to  the  summer  colony. 
An  artist,  returning  one  morning  from  his  ex- 
cursion, sketching  materials  in  hand,  found  the 
genial  host  sans  coat  or  vest,  sans  collar  or  tie, 
sitting  on  the  top  of  a  barrel.  Quickly  opening 
his  easel  and  colors,  and  using  the  large  panel 
of  a  discarded  door,  he  began  painting  a  rear 

310 


BROWN  COUNTY  COLONY 

view ;  the  other  artists  returning  each  lent  a  hand, 
until  the  back  was  declared  complete  by  the 
severest  critic.  But  there  were  other  artists  who 
desired  to  be  represented,  so  the  easel  was  moved, 
and  soon  a  front  view  was  painted  on  the  other 
side  of  the  door.  Hilarity  prevailed,  and  Pitt- 
man  showed  all  the  gold  teeth  that  the  traveling 
dentist  had  so  graciously  given  him.  Fortunately, 
the  dentist  was  there,  and  added  gold-leaf  to  the 
portrait.  When  the  highest  critic  had  criticized, 
fourteen  artists  found  convenient  places  to  sign 
their  more  or  less  distinguished  names.  The  work 
of  art  was  sent  to  the  capital,  where  a  hand-made 
wrought-iron  frame  and  bracket  were  added,  and 
it  now  swings  out  over  the  pathway  that  leads 
the  visitor  to  the  inn  beside  the  road  that  was 
kept  by  the  late  Pittman. 

Terre  Haute,  Indiana,  has  much  of  art  interest 
in  its  art  clubs  and  Art  Association.  Perhaps 
no  town  in  the  state  has  been  the  birthplace  of 
more  artists,  among  whom  it  is  a  pleasure  to 
recall  Ada  Walter  Shulz.  Eleanor  Louise 
Gumsey  lived  there  in  her  youth.  She  is  a  teacher 
and  sculptor,  a  former  pupil  of  Lorado  Taft. 
W.  T.  Turman,  who  is  a  sincere  student  of  land- 
scape-painting, has  been  director  of  art  work  in 
the  State  Normal  School  since  1894.  Harriet 
Hosmer  lived  there  a  few  months  during  a  period 
of  retirement  when  she  was  making  scientific 

311 


ART  AND  ARTISTS  OF  INDIANA 

investigation.  Still  others  that  Terre  Haute  is 
proud  to  claim  are  Caroline  Peddle  Ball,  Janet 
Scudder,  and  Amalia  Kiissner  Coudert,  whose 
story  reads  like  a  romance. 

On  the  side  street  back  of  the  dingy  old  State 
Bank  of  Terre  Haute  there  once  lived  the  family 
of  Kiissners,  with  their  music  store  next  door. 
They  were  a  family  of  many  talents,  the  father 
a  fine  musician  and  the  children  of  more  than 
ordinary  ability  in  music  and  languages.  One 
of  their  rooms  was  equipped  with  a  stage,  where 
they  gave  concerts  and  performed  French  and 
English  plays.  Here  they  lived  in  their  individ- 
ual way.  From  this  home  life  Amalia  was  sent 
at  the  age  of  six  to  St.  Mary's  of  the  Woods, 
the  convent  across  the  river,  where  she  made 
unusual  progress  in  drawing  under  the  instruc- 
tion of  Sister  Maurice.  She  remained  there  a 
few  years,  later  attending  the  public  school, 
graduating  June  24, 1881.  In  1882  an  organiza- 
tion was  started  in  Terre  Haute  for  the  study 
of  art,  of  which  Amalia  Kiissner  became  a  mem- 
ber. Her  first  work  in  water-color,  a  bunch  of 
heliotrope,  a  peasant  girl  holding  a  jug,  and  a 
spray  of  roses,  showed  pronounced  ability. 

Her  first  portrait  was  of  her  grandmother  and 
was  an  excellent  likeness.  A  little  later  her 
work,  exhibited  with  others  locally,  caught  the 
attention  of  a  connoisseur  who  was  in  Terre 

312 


INDIANA  ARTISTS 

Haute  at  the  time.  He  made  particular  inquiry 
concerning  the  young  artist  and  predicted  a 
career  for  her.  She  suddenly  decided  to  go  to 
New  York,  and  in  1892  entered  the  studio  of 
Madame  de  Silva  and  Mrs.  Bradford,  where  she 
began  her  study  of  miniature-painting  on  ivory. 
Mrs.  Theodore  Havemeyer  was  the  first  society 
woman  to  pose  for  her.  Lillian  Russell,  the 
actress,  was  induced  to  sit  for  her  by  a  Terre 
Haute  woman  then  in  the  New  York  theatrical 
world — Alice  Fisher.  Her  success  was  imme- 
diate, and  so  pronounced  that  she  was  called 
without  the  lapse  of  appreciable  time  to  Eng- 
land, where  Mrs.  Arthur  Paget,  one  of  the  lead- 
ers of  the  most  exclusive  society,  acted  as  her 
sponsor.  Her  work  was  exhibited  in  London  in 
1896,  under  the  patronage  of  Sir  John  Millais. 
It  was  received  with  such  favor  that  she  obtained 
the  commission  to  paint  many  of  the  nobility  and 
titled  women  of  England. 

In  July,  1897,  she  painted  a  miniature  of  the 
late  King  Edward  VII,  then  the  Prince  of 
Wales,  in  the  costume  of  the  Knight  of  Malta, 
at  Marlborough  House.  It  had  been  ordered 
as  a  gift  for  the  Princess  Mary.  She  was  asked 
to  Russia  in  1899  to  paint  the  Czar  and  Czarina 
and  other  members  of  the  royal  family.  The 
same  year  she  went  to  South  Africa  to  execute 
a  portrait  in  miniature  of  Cecil  Rhodes. 

313 


ART  AND  ARTISTS  OF  INDIANA 

At  the  time  she  exhibited  her  first  work  she 
had  seen  but  one  miniature,  by  an  unknown 
artist.  When  asked  of  whom  she  had  studied, 
and  whether  she  had  studied  the  old  masters,  she 
rephed:  "Why  should  I  study  them?  From 
whom  did  they  learn?"  She  decided  upon  her 
own  course,  working  with  zest  and  inspiration, 
not  with  warring  colors  but  keeping  each  color 
pure  and  distinct,  with  delicate  differentiation  of 
detail  that  gave  her  work  a  luminous  tone  and 
individuality. 

Louise  A.  Zaring,  who  came  into  the  state  at 
the  early  age  of  nine  and  resided  for  many  years 
in  Evansville,  is  now  a  resident  of  Greencastle, 
where  she  continues  her  vigorous  art  work,  spend- 
ing many  of  her  summers  in  study,  frequently 
in  the  East,  sometimes  with  Charles  W.  Haw- 
thorne at  Provincetown,  Massachusetts,  in  the 
Cape  Cod  Schipol.  Her  art  preparation  was 
made  in  the  Art  Students'  League  and  in  the 
Academic  Vitti  in  Paris,  where  her  work  received 
a  bronze  medal  and  first  honorable  mention. 

Mrs.  Emma  Matern  Weaver  was  born  in 
Sandusky,  Ohio,  in  1862.  During  her  early 
school  years  she  manifested  great  talent  in  draw- 
ing. Her  first  systematic  art  training  began 
in  the  Brooklyn  Adelphi  College,  where  she  was 
awarded  a  prize  on  her  second  year's  work.  Later 
she   studied   in  the    Cincinnati   Art   Academy. 

314 


INDIANA  ARTISTS 

She  then  traveled  in  Holland  with  a  sketching 
party,  painting  its  dykes  and  windmills,  and 
during  the  winter  was  a  pupil  of  Gussow  in 
Berlin  and  later  studied  in  Paris.  In  1895  she 
was  made  instructor  in  the  Art  School  of  De 
Pauw  University,  where  after  two  years  she 
was  married  to  Professor  Weaver. 

In  an  age  of  faddists  it  is  refreshing  and  en- 
couraging to  find  a  young  artist  like  Will  Henry 
Stevens  untouched  by  the  craze  for  novelty  of 
subject  and  eccentricity  of  manner.  His  themes 
are  drawn  from  the  commonplaces  of  nature, 
the  quiet,  unobtrusive  aspects  of  the  Ohio  River 
valley;  but  to  his  comprehension  of  nature,  his 
poetic  insight,  and  his  unerring  touch  he  im- 
parts an  interpretation  that  both  delights  us  by 
its  idealism  and  surprises  us  by  its  integrity. 
His  is  the  true  poet's  sense  of  things.  His  can- 
vases and  pastels  testify  to  a  close  observation  of 
his  surroundings,  almost  scientific  in  their  fidelity 
to  fact,  yet  all  he  touches  assumes  a  distinctive 
personality.  His  painting  might  be  generally 
entitled  "Moods  of  Nature."  His  chief  concern 
seems  to  be  to  catch  the  evanescent  spirit  of 
sunset,  storm,  or  spring  or  autumn  landscape, 
and  thereby  induce  in  the  observer  of  his  art 
a  kindred  mood.  While  he  is  a  lover  of  the 
meadows  and  the  woods,  of  shimmering  water,  of 
reflected  shadows,  and  of  all  the  wonders  of  this 

315 


ART  AND  ARTISTS  OF  INDIANA 

green  earth,  his  interests  do  not  pause  with  the 
phenomena  of  nature,  for  he  is  interested  in  the 
human  side  of  life  and  is  concerned  with  the 
meaning  that  nature's  moods  have  for  man. 

Mrs.  Stevens,  a  former  student  at  the  Cin- 
cinnati Art  Academy  and  a  graduate  of  Pratt 
Institute,  is  also  a  gifted  artist.  Before  she 
went  to  live  and  establish  a  home  in  the  quaint 
town  of  Vevay  on  the  Ohio,  the  birthplace  of 
her  husband,  she  was  doing  interesting  work  in 
the  Rookwood  Pottery.  She  has  her  own  studio 
and  is  devoting  her  time  exclusively  to  the  art 
crafts,  producing  very  charming  things  in  metal. 

Herman  H.  Wessel,  a  native  of  Vincennes, 
Indiana,  was  born  with  the  determination  to 
paint,  and  through  his  own  efforts  has  been  able 
to  study  at  the  art  centers.  He  is  now  paint- 
ing strong,  vivid  canvases  that  are  demanding 
attention  whenever  they  are  exhibited.  He  is 
an  instructor  in  the  Cincinnati  Art  Academy. 

Paul  A.  Plaschke  has  lived  and  worked  in  the 
environment  of  New  Albany  for  many  years. 
He  loves  the  scenery  of  the  southern  part  of 
the  state,  which  is  wild  and  picturesque  on  the 
borders  of  the  Ohio  River,  as  well  as  among  the 
wooded  hills  stretching  away  to  the  uplands.  He 
paints  nature  in  her  larger  moods,  transferring 
to  his  canvases  the  vast  prospect  of  hill  and 
valley. 

316 


SUMMER  MORNING  DANIEL  GARBER,  N.A.,  PHILADELPHIA 


INDIANA  ARTISTS 

Ferdinand  Graham  Walker  was  born  at 
Mitchell,  Indiana.  He  is  a  son  of  the  Rev.  Dr. 
Francis  Walker  and  Mary  E.  Graham  Walker, 
both  of  Colonial  descent.  He  began  as  a  child 
to  strive  for  expression  in  form  and  color.  From 
the  beginning  he  avoided  all  mechanical  aids, 
thereby  laying  a  substantial  fomidation  for  sure 
draftsmanship.  He  was  educated  in  the  public 
schools  of  Indiana,  and  later  in  the  art  schools  of 
Paris.  At  the  age  of  twenty-four  he  opened  his 
first  studio,  and  from  that  time  to  the  present 
day  has  been  faithful  to  his  art,  and  enjoys 
that  success  which  comes  to  all  those  who  attain 
distinction  through  their  own  efforts. 

He  readily  paints  portraits,  murals,  and  land- 
scapes. In  all  of  his  productions  there  is  breadth 
and  simplicity  without  affectation,  which  he 
believes  to  be  the  bane  of  much  of  the  work 
of  modern  painters.  He  studied  in  Paris  first 
in  1885-86,  under  Dagnan  Bouveret  and  Puvis 
de  Chavannes,  and  in  1902-06  under  Luke  Oliver, 
Merson,  and  Jacques  Blanche.  He  is  president 
of  the  Louisville  Artists'  League,  and  is  a  mem- 
ber of  the  American  Art  Association  of  Paris 
and  of  the  Society  of  American  Artists  in 
Europe.  He  has  exhibited  very  little  in  recent 
years,  as  there  has  been  great  demand  for  his 
work  in  Louisville,  Kentucky,  where  he  has 
resided  for  many  years. 

317 


ART  AND  ARTISTS  OF  INDIANA 

Louis  Oscar  Griffith  was  born  in  Greencastle, 
Indiana,  and  early  in  his  youth  went  with  his 
parents  to  live  in  Texas.  He  still  hears  the  call 
of  Indiana,  and  has  spent  several  seasons  paint- 
ing in  beautiful  5rown  County,  where  the  real 
Hoosier  exists  in  a  primitive  state.  Early  in 
life  he  had  the  good  fortune  to  meet  Frank 
Reaugh,  from  whom  he  received  his  first  en- 
couragement in  art.  In  1893  he  entered  the  St. 
Louis  Art  School;  two  years  later  he  went  to 
Chicago,  where  he  has  since  lived.  He  has  made 
several  extensive  painting  tours  through  the 
South  and  West.  He  has  painted  on  the  Maine 
coast  and  in  Brittany,  and  has  visited  the  gal- 
leries of  Paris  and  London. 

He  has  worked  independently  painting  land- 
scapes in  oil  and  pastel.  He  is  interested  in 
etchings,  and  through  experiment  has  developed 
the  production  of  color-etching.  He  is  a  mem- 
ber of  the  Palette  and  Chisel  Club,  acting  as 
president  in  1911,  during  which  time  he  lent 
zest  to  the  mirthful  group  of  artists  who  con- 
gregate there  where  joy  abounds  and  pleasure 
is  unalloyed.  He  has  the  utmost  belief  in  his  life- 
work,  and  renders  nature's  manifestations  in  that 
great  silent  expression,  the  art  of  painting,  with 
a  sincerity  of  purpose  that  brings  a  constant 
development  in  comprehension,  rendition,  and 
technique  which  emanates  from  a  real  love  of  art. 

318 


XIV.  SCULPTURE;  RUDOLPH 
SCHWARZ 

TO  every  real  worker  in  the  world  there  is 
always  some  goal  in  the  distant  future  for 
which  to  strive,  some  ideal  to  be  attained.  The 
young  student  life  of  Rudolph  Schwarz  was  a 
dream  of  great  work  in  the  new  America  where 
there  was  room  to  achieve. 

He  was  born  in  Vienna  in  June,  1866,  of  in- 
fluential parents  who  belonged  to  an  old  Aus- 
trian family.  He  received  a  substantial  educa- 
tion, having  attended  for  eight  years  the  Real 
Schule,  which  corresponds  to  our  high  schools. 
Then  he  entered  the  Imperial  Academy  of  Arts, 
where  his  work  attracted  much  attention  and 
where  he  was  awarded  several  prizes. 

The  late  Karl  Bitter,  the  New  York  sculptor, 
liked  to  talk  of  the  old  days  at  the  Academy  of 
Vienna,  where  he  and  Rudolph  Schwarz  were 
boon  companions ;  where  after  school  hours  they 
often  sat  together,  when  the  class-room  was 
otherwise  deserted,  and  talked  of  the  future  and 
dreamed  of  the  great  things  that  were  to  come. 
Darkness  and  night  often  found  them  still  en- 

319 


ART  AND  ARTISTS  OF  INDIANA 

grossed  in  these  meditative  dreams,  but  their 
way  home  led  over  the  same  streets  and  their 
boyish  plans  were  uninterrupted  until  they  came 
to  where  their  ways  diverged  and  they  separated 
for  the  night.     Said  Bitter: 

Schwarz  attracted  me  very  much.  His  manly  bearing, 
his  fondness  for  athletic  exercise,  his  straightforwardness, 
and  particularly  his  quick  and  vivid  mind,  made  him  one  of 
the  most  promising  pupils  of  the  Academy.  To  his 
influence  during  these  years  I  owe  a  great  deal,  especially 
in  physical  development.  He  supplied  our  class  with  dumb- 
bells, which  became  our  favorite  exercise.  He  was  the 
kind  of  young  man  in  every  respect  that  I  should  like  my 
son  to  be ;  for  with  his  coming  a  new  ideal,  striving,  entered 
the  hearts  of  the  other  students. 

We  left  the  Academy  at  Vienna  about  the  same  time, 
the  winter  of  1889.  He  went  to  Germany  and  I  migrated 
to  the  United  States.  We  had  planned  to  seek  the 
''promised  land"  together,  and  during  a  visit  I  paid  him  in 
Berlin,  before  leaving  Europe,  we  renewed  our  common 
aspirations  and  desires  with  this  country  as  a  field;  but 
years  passed  and  Schwarz  would  not  follow  me,  being  bound 
to  the  inferior  tasks  in  which  Germany  employed  him. 

I  introduced  him  into  the  technique  of  stone-carving, 
which  branch  of  our  art  seemed  to  have  a  strong  fascination 
for  him.  In  the  years  following  school  he  left  Austria  for 
Germany,  receiving  some  commissions  from  German  ar- 
tists to  execute  important  work  in  stone.  I  think  it  un- 
fortunate that  for  this  reason  he  was  taken  away  from 
bigger  tasks  for  which  he  was  so  well  trained  and  fitted. 
First  he  executed  the  carving  of  a  monument  near  Halle-an- 
der-Saale.  Then  such  men  as  sculptors  Kaffsack  and  Eber- 
lein,  recognizing  his  skill  with  the  chisel,  held  him  in  their 
service  and  apparently  left  him  no  time  for  the  execution 
of  independent  work;  but  I  suppose  he  considered  his 
youth  and  his  energy  everlasting.  He  did  not  pay  attention 
to  the  rapid  passing  of  years  during  which  his  talent  should 
have  found  personal  expression.  To  this,  it  seems  to  me, 
he  hardly  ever  found  time. 

320 


RUDOLPH  SCHWARZ 

In  1887  competition  for  an  architect  for  the 
Indiana  Soldiers'  and  Sailors'  Monument  was 
world-wide.  Bruno  Schmitz  of  Coblenz,  Ger- 
many, received  the  commission.  He  realized 
he  must  bring  to  Indianapolis  a  man  with  artistic 
training,  skilled  in  carving,  who  could  not  only- 
do  the  actual  work,  but  who  could  also  train  and 
direct  others.  He  entered  the  ateliers  of  Berlin, 
and  there  found  Rudolph  Schwarz.  He  engaged 
him  to  come  to  Indianapolis  and  remain  during 
the  erection  of  the  monument.  Thus  his  long- 
anticipated  dream  of  coming  to  America  was 
fulfilled.  He  soon  designated  himself  as  an 
American,  and  began  the  hf  e  of  a  citizen  in  his 
quiet  way,  making  for  himself  a  home,  where  a 
family  soon  grew  up  about  him.  Here  he  lived 
until  his  death,  April  14,  1912.  His  life  was 
one  of  almost  entire  seclusion,  his  studio  a  place 
of  shrouded  figures.  His  interest  in  clay  and 
bronze  and  his  family  claimed  his  whole  atten- 
tion. The  public  did  not  know  him,  for  like 
most  artists  he  was  in  no  sense  a  business  man. 
He  had  no  expensive  habits.  He  lived  frugally 
in  his  simple  way. 

His  studio  was  located  in  East  Raymond 
Street,  in  an  out-of-the-way  place  on  the  south 
side  of  Indianapolis,  which  from  the  exterior 
was  nothing  more  than  an  old  shed.  The  only 
entrance  was  at  the  rear,  the  door  being  em- 

321 


ART  AND  ARTISTS  OF  INDIANA 

bellished  with  a  primitive  wooden  latch.  Dis- 
order was  characteristic  of  the  studio — high 
trestles,  hanging  drapery  for  backgrounds, 
rickety  steps  to  climb  to  the  work  in  course  of 
execution,  old  boxes,  castings,  half-broken 
models,  an  old  drum-stove  to  make  the  place 
comparatively  comforta^ble.  Here  the  broad- 
shouldered  man  worked  in  his  clay-smeared 
jacket  as  he  smoked  his  cob  pipe.  He  bade 
his  very  few  visitors  welcome  and  gladly  ex- 
plained the  mysterious-looking  groups  and  fig- 
ures in  their  gray  shrouds,  some  half -finished, 
others  scarcely  begun.  His  assistant  was  also  his 
model.  He  dressed  him  in  costumes  appropriate 
to  the  figure  he  was  designing,  so  that  every  de- 
tail might  be  perfect.  His  bronze-casting  foundry 
was  in  the  ground  under  a  lean-to  roof.  He 
spent  much  time  bridging  the  technical  diffi- 
culties of  the  reproductive  wax  process,  which 
seemed  to  be  almost  a  lost  art.  It  had  been 
formerly  used  in  Italy  for  small  castings. 

When  it  was  decided  to  complete  the  monu- 
ment a  few  years  later,  Schwarz  entered  sharp 
competition  with  many  other  sculptors,  with 
models  for  the  groups  that  surmount  the  cas- 
cades, and  received  the  commission  for  "The  Re- 
turn Home"  and  "The  Dying  Soldier."  He 
was  further  commissioned  to  carve  the  four  fig- 
ures of  the  sentry  soldiers  at  the  base  of  the 

322 


RUDOLPH  SCHWARZ 

shaft.  In  the  two  groups  above  the  fountain 
basin  there  is  discernible  much  of  Schwarz's  in- 
teresting personahty.  Could  he  have  but  con- 
tinued with  serious  work,  unhampered  by  the 
miserable  battle  for  mere  existence,  he  would 
have  made  a  dominating  figure  in  American  art 
life.  He  did  the  best  work  of  his  life-time  on 
the  monument,  and  established  a  reputation  that 
influenced  the  character  of  his  later  productions. 

About  thirty  years  after  the  war  of  the  rebel- 
lion a  wave  of  enthusiasm  struck  the  entire  coun- 
try to  commemorate  the  valor  and  loyalty  of 
Civil  War  heroes.  Schwarz  designed  and  made 
many  of  the  lesser  monuments  and  figures  for 
monuments,  bas-reliefs,  and  bronze  tablets,  not 
only  in  Indiana  but  adjoining  states.  Among 
the  best  of  his  tablets  is  the  bronze  memorial 
erected  to  the  memory  of  the  student  volunteers 
of  Wabash  College. 

Persistence  was  regarded  by  him  as  a  sure  road 
to  success.  Had  he  not  been  obliged  to  compete 
for  the  miserable  trade  in  monuments  that  flood- 
ed our  country  with  the  cheapest  kind  of  inar- 
tistic sculpture,  he  might  have  developed  into  a 
sculptor  of  which  Indiana  would  have  been  proud 
and  have  brought  to  light  the  great  art  quali- 
ties he  possessed.  His  versatility  was  shown  in 
some  of  his  more  delicate  conceptions  in  which  he 
portrayed  the  feminine  form  in  grief  or  sorrow. 

323 


ART  AND  ARTISTS  OF  INDIANA 

There  has  been  much  criticism  of  the  artistic 
value  of  the  soldiers'  monuments  in  Indiana  and 
the  Middle  West — that  they  are  poorly  con- 
ceived and  badly  executed.  If  the  criticism  is 
just  it  need  not  be  confined  to  Indiana  or  the 
Middle  West.  Throughout  New  England  and 
New  York  state  there  are  many  statues  of  no 
greater  worth  or  higher  workmanship.  If  they 
are  not  the  best,  however,  they  are  a  part  of  our 
national  growth — the  growth  of  the  artist  as  well 
as  the  growth  of  appreciation  on  the  part  of  the 
people.  The  people  had  the  desire  to  honor  the 
valiant  dead,  and  in  most  instances  were  loyal  to 
the  artist  within  their  borders;  but  they  did  not 
give  sufficient  time  or  money  for  the  best  thought 
or  best  production.  It  is  but  a  part  of  the  de- 
velopment of  our  new  and  recent  civilization. 

Rudolph  Schwarz's  work  on  the  State  Monu- 
ment quickly  established  his  reputation.  He 
later  produced  the  Oliver  P.  Morton  Monument 
at  the  east  entrance  of  the  Capitol  and  the  mon- 
ument erected  to  the  memory  of  Governor  H. 
S.  Pingree  in  Detroit,  Michigan.  He  counted 
the  Pingree  statue,  which  he  won  over  sixteen 
competitors,  as  a  part  of  his  best  work.  It  is 
heroic  in  size,  weighing  more  than  eight  thousand 
pounds,  and  was  the  first  bronze  cast  ever  made 
in  Indianapolis.  It  was  necessary  to  make  the  sec- 
ond casting  before  he  produced  a  perfect  one.  No 

324 


Q 


< 

Q 
O 
O 

O 

o 

Q 

H 


RUDOLPH  SCHWARZ 

doubt  this  bronze  casting  took  much  of  his  en- 
ergy and  time,  as  there  never  were  any  skilled 
workmen  to  assist ;  but  it  is  a  proof  of  his  force- 
ful nature  that  he  rather  enjoyed  and  courted  ob- 
stacles and  difficulties.  He  once  said:  "It  re- 
quires some  nerve  for  a  young  man  to  choose  art 
as  a  career.  An  artist  sometimes  does  not  know 
how  to  meet  the  problems  that  come  up.  He 
must  have  the  greatest  conceivable  amount  of 
patience  if  he  wishes  to  achieve  success.  Art  as 
well  as  any  other  work  takes  perseverance." 

Rudolph  Schwarz  was  a  member  of  the  Ger- 
man House,  where  during  a  memorial  for  him  the 
late  Karl  Bitter,  a  guest  of  honor,  spoke  of  their 
early  association  and  of  Schwarz  as  a  man  and 
friend : 

"A  close  friendship  united  us  two,  a  friendship 
that  Rudolph  Schwarz  proved  at  all  times  when 
I  was  in  need  of  a  true  friend.  It  was  his  help 
that  enabled  me  to  reach  these  shores  of  liberty. 
There  are  not  many  people  who  can  understand 
the  grandeur  and  beauty  of  the  character  of 
my  friend.  His  artistic  ability  was  of  such  a 
lofty  character  that  there  was  no  room  for  petty 
jealousy  over  his  achievements  among  his  class- 
mates. 

"He  received  as  a  student  always  the  highest 
honors  in  any  competition  as  an  artist,  and  took 
his  success  with  such  lovable  modesty  that  his 

325 


ART  AND  ARTISTS  OF  INDIANA 

colleagues  gloried  in  him  and  found  no  room  for 
envy.  Great  avenues  of  success  his  artistic  skill 
had  opened  before  him,  avenues  that  should  have 
led  to  riches.  But  he  was  entirely  unworldly: 
money  was  nothing  to  him;  his  art  was  every- 
thing." 

Such  is  the  tribute  of  a  friend  who  knew  him 
well.  Such  is  the  man  who  came  into  our  midst 
scarcely  two  decades  ago ;  but  there  was  no  love 
for  art  on  the  part  of  the  public  to  create  the 
environment  that  produces  and  sustains  a  great 
art.    Following  is  a  list  of  Schwarz's  works: 

*  Peace,  Indianapolis  Soldiers'  and  Sailors'  Monument. 

*  War,  Indianapolis  Soldiers'  and  Sailors'  Monument 
The   Return   Home,   Indianapolis   Soldiers'  and  Sailors* 

Monument. 

The  Dying  Soldier,  Indianapolis  Soldiers'  and  Sailors* 
Monument. 

Two  Single  Soldiers,  Indianapolis  Soldiers'  and  Sailors* 
Monument. 

Two  Single  Sailors,  Indianapolis  Soldiers'  and  Sailors* 
Monument. 

Governor  Oliver  P.  Morton,  Statue,  State  House,  In- 
dianapolis. 

Two  War  Tablets,  State  House,  Indianapolis. 

Governor  H.  S.  Pingree,  Statue,  Detroit,  Michigan. 

Soldiers'  Monument,  Franklin,  Indiana. 

Soldiers'  Monument,  Terre  Haute,  Indiana. 

Soldiers'  Monument,  Mt.  Vernon,  Indiana. 

Soldiers'  Monument,  Crawfordsville,  Indiana. 

Soldiers'  Monument,  Vincennes,  Indiana. 

Soldiers'  Monument,  Bronze  Group,  South  Bend —  dedi- 
cated July,  1903. 

Soldiers'  Monument,  Dayton,  Ohio. 

*  Designed  by  Herman  N.  Matzen.  Carved  by  Rudolph 
Schwarz. 

326 


JOHN  H.  MAHONEY 

Bronze  Color-Bearer,  Soldiers'  Monument,  Princeton,  In- 
diana. 

Bronze  Infantryman,  Soldiers'  Monument,  Princeton,  In- 
diana. 

Bronze  Militiaman,  Soldiers'  Monument,  Princeton  In- 
diana. 

Bronze  Cavalryman,  Soldiers'  Monument,  Princeton^  In- 
diana. 

Bronze  Seaman,  Soldiers'  Monument,  Princeton,  In- 
diana. 

Bronze  Tablet  in  memory  of  Germans  who  aided  in  the 
Revolution  and  the  Civil  War. 

Bronze  Civil  War  Tablet,  Wabash  College,  Crawfords- 
ville,  Indiana. 

Bas-relief  of  Judge  Rheinhart,  Indiana  State  University. 

Life-size  figure  for  a  tomb  monument  of  Mr.  Schanz, 
Dayton,  Ohio. 

The  Forest  Figure  in  Crown  Hill  Cemetery. 

Eight  exquisitely  wrought  urns  for  monuments. 

Kiefer's  Portrait  Tablet. 

Irwin  bust,  Columbus,  Indiana. 

Memorial  Tablet  eight  feet  high,  Dayton,  Ohio. 

A  Marble  Oberon  for  Memphis,  Tennessee. 

An  over-life-size  figure.  Little  Rock,  Arkansas. 

Four  bronze  figures  for  De  Pauw  University. 

Another  sculptor  who  slowly  worked  his  way 
to  a  degree  of  prominence  was  John  H.  Ma- 
honey,  who  came  with  his  parents  to  Indiana 
when  he  was  a  small  boy  and  located  in  Jen- 
nings County.  After  a  few  years  they  removed 
to  Indianapolis  and  the  son  was  apprenticed  to 
the  firm  of  Carpenter  Brothers,  who  were  in 
the  tombstone  business.  His  inspiration  to  be 
something  more  than  a  marble-cutter  first  came 
in  1872,  when  he  studied  with  great  interest  and 
care  the  display  of  the  John  Rogers  statuary  at 

327 


ART  AND  ARTISTS  OF  INDIANA 

the  Indiana  Exposition.  He  had  executed  orna- 
mental carving  for  several  years. 

About  the  close  of  his  apprenticeship  he  made 
his  first  statue,  that  of  Benjamin  Franklin,  for  a 
new  building  that  was  being  erected.  He  was 
doing  some  special  work  in  Cambridge  City,  In- 
diana, at  the  time  of  the  death  of  General  Sol- 
oman  Meredith,  ai^d  was  called  upon  to  make  a 
death-mask,  which  resulted  in  a  commission  for  a 
heroic  statue  in  marble.  This  was  erected  in 
the  family's  private  cemetery.  At  this  time  he 
had  had  no  art  training.  After  two  years  for 
himself  in  the  marble  business  in  Indianapolis, 
he  went  abroad  in  1878  to  study  sculpture  in  the 
English  Academy  in  Rome  under  Randolph 
Rogers,  an  American  sculptor  to  whom  he  had 
letters  of  introduction.  He  remained  in  Rome 
a  year  and  a  half,  and  visited  the  galleries  of  Flor- 
ence, Paris,  and  London. 

On  his  return  to  the  United  States  he  was 
again  employed  by  G.  W.  Carpenter  at  Dayton> 
Ohio.  He  entered  his  first  competition  for  the 
Morton  McMichael  statue,  in  which  he  was  suc- 
cessful. He  produced  a  seated  statue  in  bronze 
which  was  placed  in  Philadelphia.  During  this 
work  he  met  a  Mr.  Boswell  of  Augusta,  Massa^ 
chusetts,  whose  firm  had  received  a  commission 
to  complete  the  statuary  and  marble  relief  work 
on  the  National  Pilgrims'  Monument  at  Ply- 

328 


JOHN  H.  MAHONEY 

mouth.  He  engaged  Mahoney  to  make  the 
models  and  superintend  the  entire  construction. 

Mahoney  returned  to  Indianapolis  in  1889, 
and  opened  his  first  studio  in  a  stable  in  Elm 
Street.  For  compensation  he  had  to  rely  on 
small  commercial  work  used  in  buildings,  with 
larger  commissions  at  rare  intervals. 

When  the  State  Soldiers'  and  Sailors'  Monu- 
ment was  finished  he  was  commissioned  to  make 
the  statues  for  the  Circle.  General  George  Rog- 
ers Clark  was  the  first,  after  which  he  made  Wil- 
liam Henry  Harrison,  and  then  Governor  Whit- 
comb.  This  was  followed  by  the  statue  of  Wil- 
liam E.  English,  with  two  castings,  one  for  Eng- 
lishton  Park  and  the  other  for  Scottsburg.  His 
conception  of  George  Rogers  Clark  was  not  that 
of  a  statesman  or  a  man  trained  in  the  schools, 
but  as  a  leader  of  the  frontier,  bringing  his  men 
victoriously  through  the  difficulties  of  the  wilder- 
ness. This  is  his  most  successful  work.  Later 
he  filled  two  other  commissions — a  statue  of 
Henry  Berg  of  Milwaukee,  Wisconsin,  and  an- 
other for  Springfield,  Illinois.  He  achieved  a 
certain  measure  of  success.  Then  he  gave  up 
art  entirely  because  of  the  lack  of  patronage, 
and  the  mallet  and  chisel  were  abandoned  in  the 
workshop  amid  a  litter  of  shattered  statues  and 
dissipated  ideals.  Mahoney  was  born  in  Usk, 
Monmouthshire,  Wales,  June  24,  1855,  and  came 

329 


ART  AND  ARTISTS  OF  INDIANA 

to  America  in  May,  1858.  He  died  in  Indian- 
apolis September  13,  1919. 

To  be  a  successful  sculptor  with  the  handling 
of  large  masses  of  clay,  the  considerable  me- 
chanical ability  required  for  setting  up  large  fig- 
ures or  groups  and  the  close  application  and  time 
necefssary  for  even  the  most  ordinary  results 
seemed  not  long  ago  beyond  the  endurance  of 
most  women.  About  1887  a  modeling  class  was 
started  in  the  Art  Students'  League  in  New 
York,  which  was  entered  by  a  number  of  young 
women  students.  It  was  considered  more  or 
less  of  a  fad,  an  indication  of  what  was  at  the 
time  considered  the  restless  feminine  spirit  which 
desires  to  do  everything  that  has  ever  been  done 
and  the  possibility  of  which  had  not  yet  been 
proved. 

It  was  expected  that  the  class  would  be  short- 
lived, but  the  novelty  did  not  wear  off;  instead 
there  was  a  steady  growth  in  members  and  en- 
thusiasm. When  Augustus  Saint  Gaudens 
went  to  direct  the  work,  it  became  as  much  a 
part  of  the  regular  academic  work  as  the  antique 
or  life  classes.  The  standards  maintained  were 
remarkably  high ;  the  difficulties  to  be  surmount- 
ed prevented  those  not  in  earnest  from  continu- 
ing the  arduous  labor.  Other  schools  introduced 
classes  in  modeling  shortly  afterward.  The  time 
seeming  to  be  propitious  for  the  introduction  of 

830 


CAROLINE  PEDDLE  BALL 

women  sculptors,  the  opportunity  and  advantage 
was  given  them  to  study.  Several  women  went 
abroad  to  study  under  French  sculptors,  and  in 
more  than  one  instance  celebrated  artists  who 
never  before  had  admitted  women  to  their  studios 
accepted  them  after  seeing  the  sketches  and 
studies  taken  for  their  inspection. 

The  group  of  sculptors  in  America  has  of 
necessity  been  far  from  large  and  the  work 
meager  at  best.  An  artistic  career  usually  means 
a  certain  amount  of  bread-winning,  and  how  was 
a  living  to  be  made  by  both  men  and  women  in 
sculpture  in  a  country  where  there  was  scarcely 
any  demand  for  statuary?  The  outlook  seemed 
hopeless  until  plans  were  being  made  for  the  Co- 
lumbian Exposition,  when  prominent  sculptors 
of  America  were  besieged  with  commissions,  and 
immediately  they  needed  assistants. 

In  many  cases  students  who  were  doing  orig- 
inal work  were  quickly  called  to  their  aid,  and 
thus  afforded  the  desired  opportunity  for  self- 
expression.  Among  these  were  Janet  Scudder, 
Caroline  Peddle  Ball,  and  Frances  Goodwin, 
who  were  the  first  in  Indiana  to  venture  into  the 
plastic  art. 

Prior  to  this  Caroline  Peddle  Ball  was  brought 
into  prominence  by  Tiffany  &  Comjiany,  who 
were  so  attracted  by  her  work  at  the  Art  Stu- 
dents' League  that  they  gave  her  a  studio  in  their 

331 


ART  AND  ARTISTS  OF  INDIANA 

own  building,  later  employing  her  to  make  the 
designs  for  the  firm's  exhibit  at  the  Chicago 
World's  Fair.  Her  figure  of  "The  Young  Vir- 
gin" was  included  in  the  Tiffany  exhibit.  Fol- 
lowing the  exhibition  she  executed  another  com- 
mission for  Tiffany,  a  figure  of  the  Christ  of  the 
Sacred  Heart,  life-sized.  Her  orders  from  this 
firm  have  been  numerous.  Upon  the  recommen- 
dation of  Saint  Gaudens,  Mrs.  Ball  was  com- 
missioned to  design  the  "Isabella"  coin  of  25-cent 
denomination  for  the  World's  Fair. 

Mrs.  Ball  was  born  in  Terre  Haute,  and  re- 
ceived her  first  art  lessons  at  the  Rose  Poly- 
technic Institute,  later  drawing  from  the  cast  and 
life.  The  next  year  she  attended  the  Pennsyl- 
vania Academy  of  Fine  Arts,  but  remained  for 
only  three  months.  She  then  went  to  New  York 
and  entered  the  Art  Students'  League,  where 
she  drew  from  the  antique  for  a  short  period, 
when  she  entered  the  modeling  class.  The  fol- 
lowing year  was  a  momentous  one  for  this  class, 
as  Augustus  Saint  Gaudens  consented  to  be- 
come its  master.  The  class  was  an  interesting 
and  unusual  one,  having  among  its  members  a 
number  of  strong  workers  of  marked  and  varied 
individuality. 

Mrs.  Ball  spent  the  year  1895  in  Florence, 
Italy,  where  she  studied  the  works  and  methods 
of  the  greatest  sculptors  and  artists.     She  re- 

332 


CAROLINE  PEDDLE  BALL 

turned  to  New  York,  doing  practical  art  work 
for  a  year  or  two,  and  later  went  back  to  Paris, 
where  she  remained  for  three  years,  where  she 
had  a  studio  in  the  Rue  Campagne  Premiere. 
During  this  period  she  designed  interior  decora- 
tions for  the  Paris  home  of  Appleton  Curtis,  a 
New  Yorker. 

Upon  the  recommendation  of  Saint  Gaudens 
she  was  awarded  the  contract  for  the  figure  of 
"Victory"  on  the  United  States  building  at  the 
Paris  Exposition  in  1900,  for  which  she  received 
much  praise  from  the  American  sculptors. 

In  1894  she  made  a  memorial  fountain  show- 
ing a  loosely  draped  figure  of  a  woman  holding 
a  pitcher  in  one  hand  from  which  the  water  pours 
into  a  cup  for  the  little  child  at  her  side.  This 
was  for  the  town  of  Flushing,  Long  Island,  in 
commemoration  of  the  life  of  charitable  deeds  of 
Mary  Lawrence  Eliman.  She  executed  a  por- 
trait relief  cast  in  bronze  of  Anton  Herkomer, 
showing  the  expert  weaver  of  rare  tapestries  at 
his  loom.  This  bronze  is  now  in  the  English 
home  of  the  artist  Herbert  Herkomer. 

In  recent  years  Mrs.  Ball  has  given  much  time 
to  bas-relief  and  decorative  work.  A  fireplace 
for  a  children's  nursery  shows  two  jolly  satyrs' 
heads  on  the  conventional  supporting  pilasters. 
Through  the  twining  vines  on  the  columns  and 
mounting  to  the  mantel-shelf  are  countless  elves, 

333 


ART  AND  ARTISTS  OF  INDIANA 

toads,  birds,  and  worms,  all  in  sportive  play. 
Most  interesting  are  her  bronze  fire-dogs  sur- 
mounted by  small  nude  boys  in  verd,  holding  out 
their  hands  as  if  to  warm  them.  The  sculptress 
has  recently  completed  two  corbels,  or  support- 
ing brackets,  for  memorials  in  Grace  Church, 
Brooklyn,  and  some  interesting  baptismal  fonts. 
One,  a  memorial  to  a  little  child,  shows  a  tall 
angel  in  a  slender  Gothic  niche,  tenderly  holding 
a  babe  in  her  arms,  with  the  little  head  pressed 
against  her  bosom. 

Mrs.  Ball  lives  with  her  family  at  Westfield, 
New  Jersey,  where  she  has  her  studio.  Much  of 
her  late  work  deals  with  the  psychology  of  chil- 
dren, which  expands  into  studies  in  low  relief 
showing  the  perennial  charm  of  childhood. 

Again  we  turn  to  Terre  Haute  and  find  the 
school-girl,  Janet  Scudder,  who  timidly  confessed 
to  her  music  teacher,  Mrs.  Frances  Haberly, 
afterward  Mrs.  Robertson,  that  she  had  no  fond- 
ness for  practising  and  much  preferred  drawing. 
After  inspecting  some  of  her  efforts,  it  was  de- 
cided there  was  some  evidence  of  talent  and  that 
it  would  not  be  wise  to  spend  more  time  in  music. 
Then  followed  a  gala-day. 

Later  Janet  Scudder  entered  the  Cincinnati 
Art  Academy  to  study.  Here  she  was  much  in- 
fluenced by  the  prevalence  of  woodcarving.  She 
remained  there  for  three  years,  and  then  returned 

334 


JANET  SCUDDER 

to  her  home  in  Terre  Haute  and  opened  a  studio, 
hoping  to  teach  woodcarving ;  fortunately,  no 
pupils  came.  During  the  waiting  period  she  did 
commercial  carving  for  a  Chicago  firm,  which  led 
eventually  to  a  change  of  residence  to  be  nearer 
her  work.  In  this  period  of  preparation  what 
appeared  to  be  an  evil  genius  was  at  hand:  her 
"shop"  was  discovered  by  union  workmen  and  the 
doors  were  soon  declared  closed.  This  led  her 
to  a  field  that  was  an  earnest  of  the  future. 

The  Columbian  Exposition  was  at  that  time 
in  a  state  of  preparation.  Lorado  Taft  was  de- 
signing statues  and  fa9ades  for  various  state  and 
national  buildings  that  were  soon  to  be  erected, 
and  was  much  in  need  of  capable  assistance. 
Janet  Scudder  was  admitted  to  his  staff,  and  im- 
mediately her  work  commanded  his  attention. 
She  was  assigned  two  statues  to  model,  one  for 
the  Indiana  Building,  and  the  other  a  figure  of 
Justice  for  the  headquarters  of  the  state  of 
Illinois.  This  paved  the  way  to  the  accompUsh- 
ment  of  the  inborn  dream  of  every  true  artist :  to 
study,  to  work,  to  have  a  studio,  to  achieve  in 
that  realm  where  art  and  artists  abound. 

No  other  thing  at  the  exhibition  so  caught  her 
attention  and  held  her  thought  as  the  incom- 
parable work  of  MacMonnies'  fountain.  The  in- 
fluence was  so  paramount  and  the  desire  so  great 
that  in  a  short  time  she  was  living  in  the  Latin 

335 


ART  AND  ARTISTS  OF  INDIANA 

Quarter  of  Paris,  working  as  his  pupil,  busy  with 
clay  and  plaster,  studying  earnestly,  executing 
her  ideas  as  they  were  revealed  to  her ;  destroying 
freely  the  thing  upon  which  she  had  spent  days 
of  thought;  patiently  eliminating  through  her 
tests  until  gradually  there  evolved  a  working 
basis.  She  tried  every  form  of  art  to  which  the 
term  "sculpture"  may  be  applied — portraits, 
busts,  and  bas-reliefs,  memorial  tablets  and  me- 
dallions, statues,  and  finally  fountains. 

The  broadening  scope  of  the  plans  and  the  in- 
creasing success  of  Stanford  White,  the  archi- 
tect, in  completing  the  grounds  of  estates  de- 
manded the  assistance  of  a  sculptor.  He  recog- 
nized Janet  Scudder's  ability  and  commissioned 
her  to  model  several  fountains  for  homes  he  was 
designing.  This  brought  her  back  to  New  York, 
but  in  his  sudden  death  the  end  came  almost 
before  the  beginning;  for  there  was  no  one  to 
execute  his  plans  and  Janet  Scudder's  work  was 
useless.  At  this  period  she  designed  the  seal  of 
the  Bar  Association  of  New  York.  After  a 
brief  time  she  returned  to  France,  then  went  to 
Florence,  Italy,  where  she  studied  for  a  year  and 
a  half  in  the  Pitti  Academy,  and  entered  the  night 
classes  of  Colorossi. 

It  was  in  this  environment  that  she  really  found 
herself,  as  she  studied  the  gardens  and  fountains 
and  the  romping,  rollicking  Italian  boys  who 

336 


OLD  HOUSES  AT  CENTERVILLE 

MAUDE  KAUFMAN  EGGERMEYER 


JANET  SCUDDER 

have  since  served  so  often  as  her  models  and  been 
the  keynote  of  her  work.  She  has  continued 
her  interpretations  of  childhood  in  its  mischievous 
period,  making  a  human  appeal  that  has  been 
universally  crowned  with  favor.  During  her 
residence  in  Florence  she  applied  herself  to  por- 
trait medallions  and  fountains,  sending  five  of 
the  latter  to  the  National  Gallery  in  Paris  for 
exhibition. 

In  1908  Janet  Scudder  again  went  to  Paris 
and  opened  a  studio  in  Rue  de  la  Grande 
Chaumiere  in  the  Latin  Quarter.  She  worked 
almost  exclusively  on  boy  figures  for  fountains. 
Her  "Young  Pan"  fountain  was  selected  by 
Robert  Bacon,  ambassador  to  France,  for  the 
American  Embassy  in  Paris.  It  was  successfully 
placed  at  the  end  of  a  long  corridor.  It  had  prev- 
iously won  a  place  of  honor  at  the  fall  exhibit 
of  1911  in  the  National  Academy  of  Design. 

In  1912  she  made  a  trip  to  America  to  see 
the  gardens  of  J.  D.  Rockefeller  at  Pocahtico 
Hills  and  those  of  Harold  McCormick  at  Lake 
Forest,  Illinois,  as  she  had  been  commissioned 
to  execute  fountains  for  these  estates.  One  of 
her  first  fountains  to  be  placed  was  "The  Tor- 
toise Fountain"  in  the  gardens  of  Alexander 
Hudnut  in  Princeton,  New  Jersey,  a  replica  of 
which  is  on  the  gallery  floor  of  the  Richmond, 
Indiana,  High  School.  Among  other  well-known 

337 


ART  AND  ARTISTS  OF  INDIANA 

pieces  from  her  studio  are  "The  Lady  of  the 
Sea,"  a  large  statue  interpreting  the  leading 
woman  in  Ibsen's  play  of  that  name;  "The  Frog 
Fountain"  in  the  Metropolitan  Museum;  "The 
Sun  Goddess,"  a  representation  of  Japanese  art 
which  adorns  the  fa9ade  of  the  Brooklyn  Insti- 
tute of  Arts  and  Sciences.  Five  of  her  medallion 
portraits  are  the  property  of  the  government  of 
France.  She  is  the  first  American  woman  sculp- 
tor to  have  work  bought  for  the  Luxembourg. 

The  opening  of  the  European  war  found  her 
busy  in  her  studio  at  her  estate,  Villa  d'Avray. 
She  immediately  tendered  her  house  to  the  Min- 
ister of  War  and  her  services  to  the  French  Red 
Cross.  Then  she  went  to  live  in  very  small  quar- 
ters in  Rue  Racine.  Realizing  she  might  give 
greater  assistance,  she  returned  to  America.  The 
associations  to  procure  funds  ''pour  les  gens  de 
lettres  Francoises''  and  the  Mine- Sweepers 
Fund  were  her  own  creation  and  she  was  one  of 
the  four  women  who  started  the  Lafayette  Fund. 

She  opened  a  studio  in  Madison  Avenue,  New 
York.  She  was  invited  to  send  all  her  fountains 
to  the  Panama-Pacific  Exposition.  The  foun- 
tains sent  were:  "Seaweed,"  "Diana,"  "Young 
Pan,"  "Flying  Cupid,"  "Fighting  Boys,"  and  a 
number  of  statuettes  which  were  placed  in  the 
court  of  the  Fine  Arts  Building.  She  received  a 
silver  medal  for  the  excellence  of  her  work. 

338 


FRANCES  M.  GOODWIN 

A  recent  government  commission  has  been 
completed  in  which  she  designed  three  gold 
medals  presented  by  the  United  States  to  Am- 
bassadors Noan  of  Argentina,  De  Gama  of 
Brazil,  and  Suarez  of  Chile.  They  were  pre- 
sented for  the  generous  services  of  these  men  as 
mediators  in  the  controversy  between  the  gov- 
ernment of  the  United  States  and  the  leaders  of 
the  warring  parties  of  Mexico  in  1914. 

The  John  Herron  Art  Institute  of  Indian- 
apolis has  recently  acquired  some  examples  of 
her  medallions.  The  Indiana  Centennial  medal- 
lion is  her  work. 

With  the  beautifying  of  estates  and  the  en- 
hancement of  landscape-gardening  in  every  sec- 
tion of  this  country,  there  is  an  increased  call 
for  sun-dials  and  fountains  that  crowds  the  life 
of  a  sculptor  working  in  these  lines  full  of  ac- 
tivity. 

The  bronze  bust  of  Robert  Dale  Owen,  which 
was  erected  at  the  south  entrance  of  the  Indiana 
State  Capitol  in  1911  is  the  work  of  an  Indi- 
ana artist,  Frances  M.  Goodwin  of  Newcastle, 
where  she  has  quietly  worked  the  greater  part  of 
her  life.  She  opened  a  studio  in  Indianapolis 
long  enough  to  execute  this  commission.^     She 

*In  1904  Miss  Julia  S.  Conklin,  of  Westfield,  Indiana,  sug- 
gested to  the  Indiana  Federation  of  Clubs  that  a  monument  be 
erected  in  recognition  of  the  life  and  work  of  Robert  Dale  Owen. 
A  committee  was  appointed,  assuming  the  title  of  the  "Robert 

339 


ART  AND  ARTISTS  OF  INDIANA 

modeled  the  subject  in  clay  which  was  submitted 
for  approval  to  the  Robert  Dale  Owen  Memorial 
Association  and  to  Ernest  Dale  Owen,  a  son  of 
the  New  Harmony  philanthropist.  Miss  Good- 
v/in  then  took  the  model  to  Paris,  where  the  cast- 
ing was  made. 

Frances  Goodwin  began  her  studies  in  an  early 
art  school  in  Indianapolis,  after  which  she  be- 
came a  pupil  of  the  Chicago  Art  Institute  with  a 
view  of  becoming  a  painter.  Soon  her  attention 
was  turned  to  modeling.  She  received  honor- 
able mention  in  the  students'  exhibit  at  the  end 
of  three  months'  study.  She  became  fascinated 
with  the  work,  to  which  she  eventually  gave  her 
entire  time.  Her  first  public  production  was  a 
statue  of  "Education"  for  the  Indiana  Building 
at  the  Columbian  Exposition  in  1893,  which  was 
awarded  honorable  mention. 

She  spent  four  and  a  half  years  in  Europe, 
traveling  and  studying  the  works  of  the  mas- 
ters in  different  countries,  having  her  headquar- 
ters and  studio  in  Paris.  While  there  she  exe- 
cuted the  memorial  of  Captain  Everet  Benja- 
min of   New  York,   who   lost  his   life   in   the 

Dale  Owen  Memorial  Association."  It  consisted  of  the  following 
members:  Julia  S.  Conklin,  president;  Belle  McNary,  Logansport, 
first  vice-president;  Alice  P.  Dryer,  Terre  Haute,  second  vice- 
president;  Esther  G.  White,  Richmond,  secretary;  Susan  E.  H. 
Perkins,  Indianapolis,  treasurer;  Virginia  C.  Meredith,  Cambridge 
City;  Addie  B.  Guldin,  Ft.  Wayne;  Cora  C.  Landis,  Delphi; 
Julia  G.  Sharpe,  Indianapolis;  Mary  D.  Maxedon,  Vincennes. 

340 


INDIANA  SCULPTORS 

Philippines.  She  is  represented  in  the  United 
States  Senate  Gallery  by  a  bust  of  Vice-Presi- 
dent Colfax,  a  commission  from  the  government; 
at  the  John  Herron  Art  Institute,  Indianapolis, 
by  busts  of  the  late  poet  Benjamin  S.  Parker  and 
the  Rev.  James  D.  Stanley. 

Other  sculptors  belonging  to  Indiana  but  now 
living  elsewhere  are  Mi^.  Clara  B.  Leonard 
Sorensen  of  Chicago,  Eleanor  Louise  Gurnsey 
of  the  James  Millikin  University  at  Decatur, 
Illinois,  and  Mary  Washburn,  formerly  of  Rens- 
salaer,  but  now  of  Chicago. 

Walter  Reed  Williams  began  his  study  of 
sculpture  at  the  John  Herron  Art  School  under 
Rudolph  Schwarz,  and  later  went  to  the  Boston 
Museum  of  Fine  Arts  and  to  the  Beaux-Arts  in 
Paris  to  continue  his  work.  He  conducted 
classes  in  cast  and  modeling  frona  life  at  the  Art 
School  in  Indianapolis  during  one  school  year. 

Helene  C.  Hibben  found  her  first  work  as  a 
sculptor  in  modeling  of  a  very  unusual  kind,  that 
of  miniature  busts,  which  were  very  attractive 
and  accurate  likenesses.  Her  work  is  mostly  bas- 
relief  portraits  in  bronze.  When  sitters  are  few 
and  miniature  bronze  figures  are  not  in  demand, 
she  spends  her  time  in  her  charming  studio  in 
the  midst  of  the  shrubbery  of  her  own  lawn, 
where  she  has  a  kiln  and  all  the  paraphernalia  for 
making  art  tiles  and  pottery.     Her  dedicatory 

341 


ART  AND  ARTISTS  OF  INDIANA 

tablet  of  the  Burdsal  Unit  of  the  City  Hos- 
pital of  Indianapolis  is  a  relief  sculpture  in 
bronze.  It  has  brought  more  than  the  usual  com- 
mendation of  artists  and  critics.  The  groups  of 
figures  on  each  side  of  the  inscription  are  sym- 
bolical, representing  the  "Spirit  of  Giving"  and 
the  "Recipients."  The  half -draped  figures  gave 
the  sculptor  an  opportunity  to  use  in  an  admir- 
able way  the  long,  flowing  line  of  the  human  fig- 
ure and  the  floating  drapery. 

Rena  Tucker  Kohlmann,  painter,  sculptor, 
and  teacher,  is  developing  a  place  for  herself  in 
the  art  world.  "Monument  Place"  is  a  thor- 
oughly artistic  canvas,  treated  in  an  original 
manner.  Her  sculpture  is  in  miniature.  The 
bronze  of  "Little  Orphant  Annie"  is  an  imagina- 
tive study  of  one  of  Riley's  well  known  char- 
acters. 

Myra  R,  Richards'  work  in  sculpture  solves 
some  of  the  difficult  problems  in  foreshortening, 
and  her  bust  portraits  are  good  likenesses,  those 
of  Meredith  Nicholson  and  James  Whitcomb 
Riley  attracting  unusual  attention.  She  exe- 
cuted the  Riley  monument  erected  in  Greenfield, 
Indiana,  in  1918. 

"Classic  Music,"  a  piece  of  statuary  carved  in 
Vermont  marble,  forms  a  part  of  the  decora- 
tive scheme  of  the  music  pavilion  in  Lincoln 
Park,  Chicago.    It  is  the  work  of  John  G.  Pra- 

342 


INDIANA  SCULPTORS 

suhn.  He  was  a  student  in  the  Chicago  Art  In- 
stitute under  Lorado  Taft  and  of  Charles  J. 
MulHgan,  after  which  he  maintained  a  studio  in 
the  sculpture  colony  in  Ellis  Avenue,  working 
both  independently  and  in  conjunction  with  other 
sculptors. 

For  several  years  he  was  first  assistant  to 
Lorado  Taft,  and  directed  the  erection  of  some 
of  his  monumental  statuary.  He  superintended 
the  engineering  work  in  the  erection  of  the  heroic 
statue  of  the  Indian  chief.  Black  Hawk,  which 
is  placed  on  a  bluff  two  hundred  feet  high  at 
Oregon,  Illinois.  The  statue  is  constructed  of 
cement,  and  is  something  over  forty-three  feet 
in  height.  It  required  four  summers  and  one 
winter  to  complete  the  work.  "The  Lions,"  at 
the  base  of  the  Taft  Columbus  Memorial  Monu- 
ment at  Washington,  D.  C,  are  the  conception 
and  execution  of  Prasuhn.  He  returned  to  In- 
dianapolis, and  opened  a  studio  in  which  to  exe- 
cute the  sculptural  commissions  and  to  plan  the 
artistic  and  ornamental  features  of  the  Dixie  and 
Lincoln  Highways. 

In  New  York,  George  Grey  Barnard  is 
spoken  of  as  an  Indiana  man,  his  father  being  a 
Presbyterian  minister  of  Madison.  In  Indiana 
we  are  nothing  loath  to  claim  the  sculptor,  who 
has  put  his  life  into  his  work,  who  has  created  an 
old-world  atmosphere  in  the  great  city  for  the 

343 


ART  AND  ARTISTS  OF  INDIANA 

environment  of  his  studio.  During  his  years  in 
France,  when  work,  struggle,  and  privation  were 
demanding  the  ascendancy,  he  gathered  the  art 
treasures  that  came  his  way,  and  later  had  them 
sent  to  America. 

He  has  erected  on  the  hill  at  Fort  Washington 
Avenue  a  purely  Gothic  structure  such  as  the 
people  of  the  towns  of  France  built  in  the  thir- 
teenth century.  The  building  stands  inclosed  in 
gray  walls  of  stone  and  brick,  with  a  severe 
facade,  a  stained-glass  window  the  only  orna- 
ment over  the  main  entrance.  Within  are  his  art 
treasures.  This  building  is  to  provide  the  simple 
and  correct  setting  that  suggests  their  original 
surroundings.  Before  the  main  entrance  stand 
two  short  columns  with  statues  from  the  ancient 
cloister  of  the  monastery  erected  by  St.  Guil- 
ham  of  the  Desert,  that  is  definitely  traced  back 
to  the  ninth  century. 

The  doors  of  the  main  entrance  are  of  twelfth- 
century  oak,  heavily  carved,  with  bolts  and  hinges 
still  intact.  In  the  center  of  the  nave  are  placed 
fragments  of  thirteenth-century  tombs,  including 
the  reclining  figure  of  a  knight  in  armor.  On 
every  side  are  to  be  found  exquisite  medieval 
columns,  Greek  and  Gothic  statues,  producing 
an  austere  and  ecclesiastical  atmosphere.  In  the 
gallery  above  are  many  Gothic  sculptures  and  in- 
teresting fragments  of  another  age,  creating  the 

3U 


GEORGE  GREY  BARNARD 

architectural  environment  of  the  twelfth  century 
for  these  treasures,  which  are  shown  by  sym- 
pathetic candlelight  against  a  background  of 
cleverly  dulled  brick  walls.  The  "Cloisters,"  as 
the  building  is  called,  is  an  achievement  of 
George  Grey  Barnard,  the  distinguished  sculp- 
tor. He  built  much  of  it  with  his  own  hands. 
The  interesting  collection  within,  the  statues,  the 
bas-reliefs,  the  capitals,  and  the  altar  carvings, 
are  the  masterpieces  that  once  adorned  the 
French  cloisters  of  the  Middle  Ages  and  were 
devastated  by  the  wars  of  the  Huguenots  and 
the  French  Revolution.  During  Barnard's  long 
residence  in  that  country,  he  gradually  accumu- 
lated these  treasures.  Many  he  excavated  with 
his  own  hands.  A  statue  of  an  apostle  was  ob- 
tained by  replacing  another  stone  in  the  wall 
where  it  had  so  long  been  of  use.  A  memorial 
tablet  was  used  as  the  lintel  of  a  hen-house  door. 
Thus  from  ignominy  were  these  antique  sculp- 
tures rescued  and  placed  in  a  museum  building 
that  is  significant  and  illuminating,  affording 
art  lovers  of  this  country  an  opportunity  to  study 
the  past. 

George  Grey  Barnard  was  born  in  Belief onte, 
Pennsylvania,  in  1863.  The  father's  clerical 
duties  soon  called  him  to  Muscatine,  Iowa.  As 
a  boy  he  found  his  greatest  pleasure  in  the  for- 
ests, where  he  studied  outdoor  life,  making  a 

345 


ART  AND  ARTISTS  OF  INDIANA 

collection  not  only  of  living  pets  but  of  stuffed 
birds  and  animals.  At  the  age  of  fifteen  he  was 
the  state  taxidermist.  Then  he  began  to  repro- 
duce in  the  native  clay.  A  study  of  his  sister 
gave  delight  to  his  family  and  resulted  in  his 
being  sent  to  the  Chicago  Art  Institute.  After 
a  year  and  a  half  of  hard  study  he  set  off  for 
Paris  with  three  hundred  and  fifty  dollars,  which 
he  had  earned  by  executing  a  portrait  bust  of 
"The  Boy." 

He  worked  in  France  for  years.  Finally,  when 
his  work  was  shown  in  the  Champs  de  Mars  in 
1894,  it  elicited  remarkable  enthusiasm,  receiv- 
ing the  highest  praise  from  the  authoritative 
French  critics,  praise  interesting  in  its  sincerity 
and  earnestness.  After  he  left  the  Beaux- Arts 
he  worked  alone  for  eight  years.  Then,  in  the 
midst  of  his  achievements,  with  praises  on  every 
side,  he  determined  to  return  to  America  and 
work  alone,  where  he  was  unknown  and  unap- 
preciated, but  where  he  could  work  without  influ- 
ence and  execute  his  own  original  thoughts. 
When  Saint  Gaudens  discontinued  his  classes  at 
the  Art  Students'  League,  Barnard  did  the 
work  in  the  years  1900  and  1903.  He  received 
the  unusually  large  commission  for  statuary  for 
the  State  House  at  Harrisburg,  Pennsylvania. 
He  then  gave  up  teaching  and  went  back  to 
France,  where  the  facilities  for  work  were  more 

346 


GEORGE  GREY  BARNARD 

accessible  and  where  he  executed  the  well-known 
groups  of  figures  and  bas-reliefs  that  ornament 
the  f  a9ade  of  the  building. 

An  exhibit  of  his  work  was  held  in  Boston  in 
1909.  His  principal  works  are:  "Two  Natures," 
"The  Unseen  Giver,"  "Brotherly  Love,"  "Life 
Reclaimed  by  Relentless  Matter-Earth,"  "Par- 
enthood," "Life  Drawn  unto  Death,"  "Broth- 
erly Love"  and  "Labor."  He  has  been  a  close 
student  of  Michelangelo;  he  has  a  marvelous 
knowledge  of  "planes,"  which  he  produces  with 
unerring  judgment.  His  work  is  compared  to 
that  of  Rodin.  Like  Rodin,  he  often  leaves  a 
portion  of  the  block  of  marble  unhewn. 

George  Henry  Payne,  in  reviewing  the  work 
of  Barnard  some  years  ago,  said: 

He  is  a  mystic  and  a  poet  and  in  his  writings,  unpub- 
lished, unconned,  and  without  literary  form  as  they  are, 
he  expresses  that  same  wonderful,  idealistic  vitality.  He 
sees  life  not  as  others  see  it — life  ennobled  in  its  entirety, 
both  the  past  and  the  future.  When  one  considers  that  the 
sculptor  has  been  but  a  few  years  in  his  thirties,  that  he  is 
yet  a  young  man,  that  his  greatest  work  was  done  some  six 
years  ago,  one  feels  with  animation  the  greatness  of  the 
future,  a  future  as  great  for  the  country  as  it  is  for  the 
tireless  individual.  It  seems  strange  to  have  among  us 
here  in  America,  where  so  many  attempts  at  sculptural  art 
have  verged  on  the  ridiculous,  a  man  who  can,  does,  and 
will  rank  with  the  greatest.  The  only  trouble  is,  in  hav- 
ing him  so  near  we  may  not  see  him  in  his  true  light. 
That  is  a  fear,  but  it  is  a  fear  that  does  not  come  when 
one  stands  before  the  marble  of  one  who  has  the  fire, 
the  force,  the  vitality,  the  poetic  insight,  and  the  emotional 
nobility  of  dominant  genius. 

347 


ADDENDA 

ABBREVIATIONS 

WHO'S  WHO  IN  INDIANA  ART 

INDIANA  ILLUSTRATORS 

INDIANA  MAKERS  OF  BOOK-PLATES 

INDIANA  ART  SCHOOLS 

INDIANA  ART  ASSOCIATIONS  AND  ART  CLUBS 

INDIANA  GOVERNORS'  PORTRAITS 

INDIANA  MONUMENTS 

BIBLIOGRAPHY 


349 


WHO'S  WHO  IN  ART 

ABBREVIATIONS  ^ 

P. — painter;  S. — sculptor;  /. — illustrator;  E. — etcher; 
Engr. — engraver;  C. — craftsman;  D. — designer;  L. — lec- 
turer; Ldscp.  P. — landscape-painter;  Min.  P. — ^miniature- 
painter;  Mural  P. — mural-painter;  Port.  P. — portrait- 
painter;  Arch. — architect;  T. — ^teacher;  W. — writer. 


SOCIETIES 

AAI — ^Art  Association  of  Indianapolis 

AIC — ^Art  Institute  of  Chicago 

AGC— Artists'  Guild  of  Chicago 

A.  Fed.  A. — ^American  Federation  of  Arts 

A.  Fund  S. — Artists'  Fund  Society 

Am.  Acad.  A.  L. — American  Academy  of  Arts  and  Letters 

ANA — Associate  National  Academy  of  Design,  New  York 

ASL  of  N.  Y.— Art  Students'  League  of  New  York 

AWCS — ^American  Water-Color  Society  of  New  York 

Chicago  A.  C. — ^Arts  Club  of  Chicago 

Chicago  SA — Chicago  Society  of  Artists 

Chicago  S.  E. — Chicago  Society  of  Etchers 

Chicago  WCC— Chicago  Water-Color  Club 

CC  Chicago — City  Club  of  Chicago 

CI — Carnegie  Institute  of  Pittsburgh 

Cin.  AA — Cincinnati  Art  Academy 

Cin.  A.  C. — Cincinnati  Art  Club 

HAI — Herron  Art  Institute,  Indianapolis 

NA — National  Academy,  New  York 

NAC— National  Arts  Club,  New  York 

NAD — National  Academy  of  Design 

Nat.  Inst.  A.  L. — National  Institute  of  Arts  and  Letters 

NSS — National  Sculpture  Society,  New  York 

*The  abbreviations  here  used  are  the  same  as  those  in  the 
American  Art  Annual  for  the  sake  of  convenience  and  compre- 
hension. 

351 


ART  AND  ARTISTS  OF  INDIANA 

PAFA — Pennsylvania  Academy  of  Fine  Arts,  Philadel- 
phia 

PAIA — Pennsylvania  Academy  of  Industrial  Arts,  Phila- 
delphia 

Paris  AAA — American  Art  Association  of  Paris 

Port.  P. — National  Society  of  Portrait-Painters,  New  York 

PC — Portfolio  Club  of  Indianapolis 

PCC— Palette  and  Chisel  Club  of  Chicago 

PM  &  SI  A — Philadelphia  Museum  and  School  of  Indus- 
trial Arts 

Pan-Am.  Exp. — Pan-American  Exposition 

P.-P.  Exp. — Panama-Pacific  Exposition 

RAA — Richmond,  Indiana,  Art  Association 

Ten  Am.  P. — Ten  American  Painters 

SAA — Society  of  American  Artists,  New  York 

SAC— Seattle  Art  Club 

Salma.  C. — Salmagundi  Club,  New  York 

SFAA — School  of  Fine  and  Applied  Arts,  New  York 

SI — Society  of  Illustrators,  New  York 

SI  A — Society  of  Indiana  Artists 

SWA — Society  of  Western  Artists 

S.  Wash.  A. — Society  of  Washington  Artists,  Washington, 
D.  C. 

SS  of  Ind. — Sculpture  Society  of  Indiana 

Woman's  AC — Woman's  Art  Club  (preceded  by  name  of 
City) 

Women  PS — Association  of  Women  Painters  and  Sculp- 
tors, New  York 


352 


WHO'S  WHO  IN  ART 

INDIANA  PAINTERS,  SCULPTORS,  AND 
ILLUSTRATORS 

Abbott,  William  H.     143  W.  42d  St.,  New  York,  N.  Y. 
D.     Born  Goshen,  Ind. 

Adams,  J.  Ottis.  "The  Hermitage,"  Brookville,  Ind.;  sum- 
mer home,  Leland,  Mich. 
Ldscp.  P.  T.  Born  Amity,  Ind.,  July  8,  1851.  Pupil 
South  Kensington  Art  School,  London,  under  John 
Parker,  1872-74;  Royal  Academy,  Munich,  under 
Benczur  and  Loefftz,  1880-87.  Awards:  bronze 
medal  St.  Louis  Exp.  1904;  A.  M.  from  Wabash 
College  1898;  Fine  Arts  Bldg.  prize,  Chicago,  1907; 
Vincennes  prize;  Mary  T.  R.  Foulke  prize  1909; 
hon.  men.  Buenos  Aires  Exp.,  1910.  Member:  Hon. 
member  AAI;  SWA  (president  1910).  Represent- 
ed: HAI,  "September  Morning";  Richmond,  Ind., 
Gallery,  "A  Summer  Afternoon";  Muncie  Art  Asso., 
"Winter  Morning"  and  "Road  to  Town";  Cedar 
Rapids,  Iowa,  Art  Asso.,  "The  Pool";  Public  Li- 
brary, Terre  Haute,  "Iridescence";  paintings  in 
public  libraries  of  Anderson,  Brookville,  BlufFton, 
Evansville,  Ft.  Wayne,  and  Marion,  Ind.,  Bay  City, 
Mich. ;  murals  in  City  Hospital,  Indpls.,  public 
schools  of  St.  Louis,  Mo.,  Terre  Haute;  "Dawn  of 
Night,"  Magazine  Club,  Columbus,  Ind. 

Adams,  Wayman.  7  E.  Market  St.,  Indianapolis,  Ind. 
Sherwood  Studio,  57th  St.  and  6th  Ave.,  N.  Y. 
Port.  P.  Born  Muncie,  Ind.,  Sept.  23,  1883.  Pupil 
HAI,  Chase,  and  Henri.  Awards:  Proctor  prize 
NAD  1914;  Foulke  prize  1915;  Holcomb  prize  1916; 
Newport  prize  1918;  Logan  prize  1919'  Member: 
Portfolio  Club;  SIA;  ANA.  Represented:  Indiana 
State  Library,  Portraits  of  Governor  Hanley,  Gov- 
ernor Marshall,  Governor  Ralston;   "Charles  Den- 

353 


ART  AND  ARTISTS  OF  INDIANA 

nis/*  HAI;  "Joseph  Pennell/*  Chicago  Art  Insti- 
tute; murals  in  City  Hospital,  Indianapolis;  "Secre- 
tary Baker/'  "General  March/'  National  Portrait 
Gallery.     Alexander  ErnestinofF  HAI. 

Adams^  Winifred  Brady.  "The  Hermitage/*  Brookville, 
Ind. ;  summer  home,  Leland,  Mich. 
P.  Born  Muncie,  Ind.,  May  8,  1871.  Pupil  Drexel 
Institute,  Phila.,  Art  Students'  League,  N.  Y.; 
Awards:  hon.  men.  at  Richmond,  Ind.,  1913.  Mem- 
ber: Woman's  Art  Club,  Cincinnati,  Associate  SWA. 
Represented:  HAI,  "Marigolds";  St.  Louis  Exp. 
1904;  Richmond  Gallery,  "Still  Life";  Muncie  Art 
Asso.,  "Still  Life." 

Alden,  Ruth.     Michigan  Ave.,  Chicago,  111. 
D.     With  Nelson  &  Sons,  Architects. 

Allison,  William  Merle.    Hollis,  Long  Island.    Pupil  of 
HAI. 

Andersen,  Martinus.  609  West  191st  St.,  New  York,  N.  Y. 
P.  7.  Born  Peru,  Ind.,  Aug.  13,  1878.  Pupil  J.  Ottis 
Adams  and  William  Forsyth,  HAI.  Awards:  hon. 
men.  Richmond,  Ind.,  1913,  1914,  1915;  Whitney 
prize  1915,  Friends  of  Young  Artists'  Exhibition, 
New  York;  Member:  Portfolio  Club;  SWA;  Repre- 
sented City  Hospital,  Indpls.,  mural  decorations; 
Panama-Pacific  Exp.  1915. 

Armstrong,  Voyle  Nelville.    7  Eden  Park  Terrace,  Cin- 
cinnati, O.     Home,  Bedford,  Ind. 
P.     Born  Dobbin,  W.  Va.,  Nov.  26,  1891.     Pupil  Cin, 
AA;  Member:  Cin.  AC;  Thumb-Tack  Club. 

Angell,  (Mr.)  Clare.     42  Slocum  Crescent,  Forest  Hills 
Gardens,  Long  Island,  N.  Y. 
I.  D.    Born  Goshen,  Ind. 

Arter,  Charley.     Richmond,  Ind. 
P. 

Austin,  Alfred  N.     Terre  Haute,  Ind. 

S,;  Arch.  Born  Terre  Haute,  Ind.  Designed  Indiana 
Building,  Columbian  Exp.  1893.  Pupil  AIC  un- 
der Taft.  Represented:  Bust  R.  W.  Thompson  in 
Fairbanks  Library,  Terre  Haute,  Ind. 

Bacon,  Mrs.  Elizabeth  Driggs.     Indianapolis,  Ind. 

P.  /.  Born  Indianapolis.  Pupil  AIC  under  Vander- 
poel,    John    Johansen,    Martha    Baker,    Frederick 

354 


WHO'S  WHO  IN  ART 

Richardson,  and  Charles  Freer;  ASL  of  N.  Y.;  also 
classes  of  Chase  and  Howard  Pyle. 
Bade,  Francis.     5108  Kimbark  Ave.,  Chicago,  111. 

D.     Born  Goshen,  Ind. 
Bade,  Mrs.  Francis.     5108  Kimbark  Ave.,  Chicago,  111. 

D,     Born  Goshen,  Ind. 
*Ball,  L.  Clarence.     South  Bend,  Ind. 

P.;  T.;  I.     Born  Mt.  Vernon,  O.,  July  4,  1858.     Died 
South  Bend,  Ind.,  Oct.  9,  1915.     Self-taught;  pupil 
NA.  Member:  Chicago  SA;  Cliff-Dwellers ;  Chicago 
Art  Asso.     Represented:  Library,  South  Bend. 
Ball,  Caroline  Peddle  (Mrs.  Bertrand  E.  Ball).     West- 
field,  N.  J. 
S.     Born  Terre  Haute,  Ind.,  Nov.   11,   1869-     Pupil 
PAFA;  ASL  of  N.  Y.  under  Augustus  Saint  Gau- 
dens  and  Kenyon  Cox.     Awards:  hon.   men.   Paris 
Exp.   1900.     Represented:  "Victory,"  U.  S.  Build- 
ing  at   Paris   Exp.    1900;    memorial   corbels   Grace 
Church,  Brooklyn,  N.  Y. 
Baker,  Frank  R.     Brookville,  Ind. 

P.;  T.     Born  Brookville.     Pupil  J.  Ottis  Adams.     Su- 
pervisor of  drawing  public  schools  of  Brookville. 
Baker,  George  Herbert.    605%  Main  St.;  224  South  5th 
St.,  Richmond,  Ind. 

Ldscp.  P.     Born  Muncie,  Ind.     Pupil  J.  E.  Bundy. 
Member:  RAA.     Awards:  Muncie  prize  1910;  sec- 
ond hon  men.  RAA  1910.     First  prize  RAA  1913 
and  1915. 
*Baker,  Martha  Susan. 

Min.  P.;  Port.  P.  Born  Evansville,  Ind.,  Dec.  25, 
1871;  died  Chicago,  Dec.  21,  1911.  Pupil  AIC. 
Awards:  first  prize  for  miniatures,  Arche  Salon, 
Chicago,  1897;  bronze  medal  St.  Louis  Exp.  1904; 
hon.  men  Carnegie  Inst.  1904;  silver  medal,  Chi- 
cago, 1905;  Municipal  Art  League  purchase  prize 
AIC  1905;  Salon  Paris,  1905.  Member:  Chicago 
SA;  SWA. 
Ballard,  Harry  W.     St.  Paul,  Ind. 

P.   C.     Born  St.  Paul.     Pupil  T.  C.  Steele;  PAFA 
under  Anshutz. 

*  Deceased 

355 


ART  AND  ARTISTS  OF  INDIANA 

*Banvard,  John. 

P.  Born  New  York,  1815;  died  1891;  Painted  Pano- 
rama of  Mississppi  River  in  1846. 

Barnard,  George  Grey.  454  Fort  Washington  Ave.,  New 
York,  N.  Y. 
S.  Born  Bellefonte,  Pa.,  May  24,  1863.  Pupil  AIC; 
Carlier  at  Ecole  des  Beaux-Arts,  Paris.  Member: 
Asso.  Soc.  Nationale  des  Beaux- Arts,  France;  Nat. 
Inst.  A.  L.  Awards:  gold  medal  Paris  Exp.  IQOO; 
gold  medal  Pan- Am.  Exp.  Buffalo,  1901 ;  gold  medal 
St.  Louis  Exp.  1904.  Represented:  "Two  Natures," 
Metropolitan  Museum,  New  York,  N.  Y. ;  "Pan," 
Central  Park,  New  York;  "I  Feel  Two  Natures," 
Art  Institute,  Chicago,  111.;  "Labor,"  State  Capi- 
tol, Harrisburg,  Pa. 

Barr,  Paul  E.     Goldsmith,  Ind. 
P, 

Barrett,  Carl  A.    Fort  Branch,  Ind. 

Mural  P.;  D.  Born  New  Harmony,  Ind.  Pupil  AIC 
under  Vanderpoel. 

Bartlett,  M.   Ellsworth.     611    East   12th   St.,   Indian- 
apolis, Ind. 
P.;  /.     Born  Seymour,  Ind.,  June  29,   1890.     Pupil 
Wheeler,  Stark,  and  Forsyth.     Member:  SI  A. 

Bates,  Dewey. 

P.  Died  Rye,  England,  1899-  Pupil  Academic 
Gerome,  Paris.  Studied  in  Antwerp.  Lived  in  In- 
dianapolis a  number  of  years. 

Baumann,  Gustave.  Studio  Nashville,  Ind.;  home  36l6 
N.  Lincoln  St.,  Chicago,  111. 
P.;  I.;  Engr.  Born  Magdeburg,  Germany,  June  27, 
1881.  Pupil  Maximillian  Dasio  in  Munich.  Mem- 
ber: Chicago  SA;  PCC;  AGC.  Awards:  gold  medal 
for  wood-block  printing  P.-P.  Exp.  1915;  Repre- 
sented: "Granny's  Garden,"  Chicago  Art  Commis- 
sion purchase;  Portfolio  HAL 

Baus,  Simon  P.     26  De  Quincy  St.,  Indianapolis. 

Ldscp.  P.;  Port.  P.  Born  Indianapolis,  Sept.  4,  1882. 
Pupil  Otto  Stark,  HAI,  under  J.  Ottis  Adams  and 
William  Forsyth;  Member:  SWA;  SI  A.  Repre- 
sented:  murals    City   Hospital,   Indianapolis,    "Au- 

*  Deceased 

356 


L.  CLARENCE  BALL 


LEON  A.  MAKIELSKI 


WHO'S  WHO  IN  ART 

tumn,"  High  School,  Lafayette,  Ind.  Awards:  Wana- 
maker  students'  prize  1909;  Holcomb  prize  1919; 
AAI  prize  1921. 

Beachey,  Margaret.     Evansville,  Ind. 

P.;  T.  Born  Lebanon,  Ohio.  Pupil  Cin.  AA;  ASL 
of  N.  Y. ;  Teachers'  College,  Columbia  Univ.  of 
N.  Y. ;  Member:  Arts  and  Crafts  Society  of  Evans- 
ville,  Ind.  Supervisor  of  drawing  in  public  schools 
Evansville. 

Berry,  Wils.     Logansport,  Ind. 

P.;  I.  Born  Logansport,  1851.  Self-taught.  He  trav- 
eled for  many  years,  sketching  from  nature,  for 
New  York  and  Chicago  publications.  Sketches  of 
the  Parliament  Building  at  Ottawa,  Canada,  were 
presented  to  Queen  Victoria,  for  which  he  received 
complimentary  acknowledgment;  he  is  a  collector  of 
pioneer  relics;  he  lives  in  "Island  Home,"  the  resi- 
dence of  the  late  Judge  Biddle. 

Berthelsen,  Johann.    430  N.  Meridian  St.,  Indianapolis, 
Ind.     P. 

*BiGEL0WE,  Daniel  Folger. 

Ldscp.;  P.  Born  Peru,  Ind.,  1823.  Died  Chicago, 
111.,  July,  1910.  He  went  to  Chicago  in  1858.  At 
one  time  he  was  connected  with  the  group  of  artists 
headed  by  G.  P.  A.  Healy,  and  with  them  organized 
the  Academy  of  Design,  which  later  'became  the  Art 
Institute  of  Chicago.  His  works  include  the  decora- 
tion of  many  of  Chicago's  finest  residences  and  a 
long  list  of  landscape  paintings. 

BiRGE,  Mary  Thompson  (Mrs.  Edward  B.).  Blooming- 
ton,  Ind. 
P.  Born  New  York,  June  5,  1872.  Pupil  Yale  School 
of  Fine  Arts  under  John  H.  Niemeyer  and  John  F. 
Weir.  Member:  Paint  and  Clay  Club  of  New 
Haven;  Represented:  portrait  in  Poughkeepsie 
Court-House. 

*Black,  Richard.     Greenfield,  Ind. 

P.;  E.  Born  Greenfield,  June  3,  1888.  Died  Green- 
field, April  7,  1915.  Pupil  ]&cole  des  Beaux- Arts, 
1909-10,  under  Cormon.     Spent  two  years  painting 

*  Deceased 

357 


ART  AND  ARTISTS  OF  INDIANA 

in  northern  Africa.     Two  paintings   purchased  by 
French  government. 
Blair^  Marie.     Princeton,  Ind. 

P.     Born    Princeton.      Pupil   Cin.   AA   under   J.    H. 
Sharp;  Meakin  and  Nowottny. 
*Blake,  James  Edward. 

Ldscp.  P.     Born  Peru,  Ind.,  June  8,  1864.     Died  Cin- 
cinnati, O.,  Feb.  11,  1912.     Pupil  Cin.  AA.     Mem- 
ber:   Cin.  AC. 
Blosser,  Merrill  C.     1279  West  3d  St.,  Cleveland,  Ohio. 
/.     Born  Nappanee,  Ind.,  May  28,  1892.     Pupil  Chi- 
cago Academy   of   Fine  Arts  under   Wentz.      Car- 
toonist, staiF  of  Cleveland  Plain  Dealer. 
BoBBS,  Ruth  Pratt.     1610  N.  Delaware  St.,  Indianapolis, 
Ind. 
P.     Born    Indianapolis.      Pupil    Mary    Y.    Robinson; 
Chase,  and  ASL  of   N.  Y. ;   Charles  Woodbury  at 
Ogonquit;  Charles  W.  Hawthorne,  Cape  Cod  School; 
Academic    Julien.       Represented:     ASL    of    New 
York;  "The  Spanish  Shawl,"  HAI. 
Booth,  Franklin.     57  West  57th  St.,  New  York,  N.  Y. 
7.     Born  Noblesville,  Ind.      Member:  SL;   Salma  C. 
Booth,  Hanson.     58  West  57th  St.,  New  York,  N.  Y. 

P.;  7.     Born  Noblesville,  Ind.,  May  19,  1886.     Pupil 
AIC;  George  Bridgeman  in  New  York.     Member: 
SI,    Salma    C.      Awards:     Shaw    prize,    Salma    C 
1913.      • 
Bowles,  Janet  Payne.     415  East  15th  St.,  Indianapolis, 
Ind. 
T,-C.     Born    Indianapolis.    Awards:    Spencer    Trask 
prize,    N.    Y.;   hon.    men.    P.-P.    Exp.,    1915;   prix 
d'honneur  Metal  Guild    1915.      Represented:   num- 
ber of  pieces  in  gold  in  the  J.   Pierpont  Morgan 
Collection;  also  in  collection  of  Sir  Casper  Purdon- 
Clarke  in  London;  elaborately  carved  silver  dagger 
for  Maude  Adams'   collection  used  by  her  in  "As 
You  Like  It";  Canterbury  crozier  for  Chaucer  Col- 
lection of  Mr.  and  Mrs.   Charles   Coburn  of   New 
York;  croziers  and  altar-pieces  for  Catholic  churches. 
Boyd,  Lula  S.     Frankfort,  Ind. 

P.;  T,     Born  Sidney,  111.     Pupil  Pratt  Inst;  super- 
visor of  drawing  Frankfort  public  schools. 
*  Deceased 

358 


WHO'S  WHO  IN  ART 

*Brazington,  William  Carey. 

P.;    /.     Born    Westfield,    Ind.,    Nov.    9,    1865;    died 
Southport,  Ind.,  July  12,  1914.     Pupil  Simon,  Cot- 
tet,   Bouguereau,   and   Ferrier   in   Paris.      Member: 
Paris    SAP.      Work:    portrait   Sir    Casper   Purdon- 
Clarke  in  Metropolitan  Museum,  New  York. 
Brehm,  George.     15  West  67th  St.,  New  York,  N.  Y. 
/.;  T.     Born  Anderson,  Ind.,  Sept.  30,  1878.     Pupil 
Forsyth,   Twachtman,    Bridgeman,   and   Du    Mond. 
Member:   SI. 
Brehm,  Worth.     15  West  67th  St.,  New  York,  N.  Y. 

/.     Born  Anderson,  Ind.,  Aug.  8,  1883.     Pupil  HAI; 
AIC;  ASL  of  N.  Y.     Member:    SI;  Salma  C. 
Brewer,  Emily.     E.  Oak  St.,  New  Albany,  Ind. 

/.     Born  Evansville,  Ind.      Illustrated  "Indiana  Sil- 
ver Hills"  and  "Home  of  My  Heart." 
Britt,   Ralph.     Winchester,   Ind. 

P.      Born   Winchester,   Ind.      Represented:   "Novem- 
ber,"   high    school,    Lafayette,    Ind.      Award:    hon. 
men.  AAI   1918. 
Brown,  Ethel.     Ft.  Wayne,  Ind. 

7.     Born  Ft.  Wayne.     Pupil  Ft.  Wayne  Art  School 
and  Western  College,  Oxford,  Ohio. 
Brown,     Florence     Bradshaw     (Mrs.     Harold     Haven 
Brown).     1640  Talbott  Ave.,  Indianapolis,  Ind. 
P.     Born  Aiken,  S.  Carolina.    Pupil  William  J.  Baer; 
ASL  of  N.  Y.;  Frank  Vincent  Du  Mond,  in  New 
York;    period   of   travel   in    Europe    and    study   in 
Paris. 
Brown,  Harold  Haven.     1640  Talbott  Ave.,  Indianapolis, 
Ind. 
P,;  I.;  T,    Born  Maiden,  Mass.,  June  6,  1869-    Pupil 
Mass.   Normal  Art   School;   Ecole   des   Beaux- Arts 
under  Gerome;  Julien  Academic  under  Laurens  in 
Paris.     Awards:    bronze  medal,  Pan-Am  Exp.  Buf- 
falo 1901.     Director  John  Herron  Art  Institute  and 
Art  School,  Indianapolis. 
Brown,  Francis  Focer.     Richmond,  Ind. 

P.;  T.     Born  Glassboro,  N.  Y.     Pupil  HAI  and  J. 
Ottis    Adams    at    Brookville,    Ind.     Member:    SIA. 

*  Deceased 

359 


ART  AND  ARTISTS  OF  INDIANA 

Award:    hon.    men.    Art    Asso.    Indianapolis    1918. 
Supervisor  of  art  public  schools  Richmond,  Ind. 

Brown,  Harrison  Paul.  509  Marion  St.,  Elkhart,  Ind. 
P.;  T.  Born  Waterloo,  Ind.,  Jan.  29,  1889-  Pupil 
HAI;  Chicago  Academy  of  Fine  Arts;  Saugatuck, 
Mich.,  summer  school  of  art  under  Walter  Marshall 
Clute,  F.  F.  Fursman,  and  George  Sensenney. 
Member:  Little  Theater  of  Indiana;  SIA. 

*Brown,  Imogene  Kevin. 

P.;    T.     Born    Liberty,    Ind.,    Feb.    15,    1853;    died 
Crawfordsville,   Ind.,  April  28,   1903. 

Brownlee,  Cornelia  A.  Fine  Arts  Building,  Chicago, 
111. 
/.  Born  Princeton,  Ind.  Pupil  AIC  under  Vander- 
poel;  Dudley  Crafts  Watson's  sketching  class  in 
Europe;  studied  in  Paris.  Member:  Three  Arts 
Club;  American  Girls'  Club,  Paris. 

Bruce,  Blanche  Canfield.  2401  North  9th  St.,  Terre 
Haute,  Ind. 
Ldscp.  P.  Born  Wells,  Minn.  Pupil:  Chicago  Art 
Institute,  Indiana  Normal  School  Art  Department; 
Charles  W.  Hawthorne;  J.  Francis  Smith;  J. 
Wellington  Reynolds;  Edward  F.  Timmons. 
Award:  hon.  men.  AIC.  Represented:  "Sand  Dune 
Group,"  Natural  History  Museum,  Lincoln  Park, 
Chicago. 

Bundy,  John  Elwood.  527  West  Main  St.,  Richmond, 
Ind. 
Ldscp.  P.  Born  Guilford  Co.,  North  Carolina,  May 
1,  1853.  Self-taught.  Instructor  in  Earlham  Col- 
lege eight  years.  Awards:  Richmond  prize  1907- 
1909;  Foulke  prize  1911;  Indianapolis  Art  Asso. 
prize  1917.  Member:  RAA;  SWA.  Represented:  St. 
Louis  Exp.  1904;  "Heart  of  the  Beechwoods,"  St. 
Louis  Museum;  "Blue  Spring,"  Richmond,  Ind. 
Art  Gallery;  "Early  Spring"  and  "Portrait  of  Pro- 
fessor Morgan,"  Earlham  College;  also  works  at 
Rockford,  111.,  Art  Asso.;  Marion  Art  Leaguie; 
Vincennes  Art  Association;  Muncie  Art  Asso.; 
Sioux  City,  Iowa;  "Wane  of  Winter,"  "Beech  Trees 
in  Winter,"  HAI. 

*  Deceased 

360 


WHO'S  WHO  IN  ART 

BuRGMANN,    William    H.     1534    Churchman    Ave.,    In- 
dianapolis. 
P.     Born  Indianapolis,  Ind.     Pupil  HAI. 
Burke,  Robert  E.     822  Atwater  Ave.,  Bloomington,  Ind. 

P.     Instructor  of  Art  in  Indiana  University. 
Burwell,  Mrs.  Kate.     Bloomington,  Ind. 

P.;  T.     Born   Bloomington,   December,   1866.     Pupil 
HAI ;  Degree  of  A.  B.  and  A.  M.,  State  University. 
Caliga,  Isaac  Henry.     142  Federal  St.,  Salem,  Mass. 
P.     Born    Auburn,    Ind.,    March    24,    1857.       Pupil 
Willam  Lindenschmidt.     Member:  Salma  C. 
Carter,  Harvard  Justin.     La  Porte,  Ind. 

P.     Born  La  Porte. 
Cassady,  E.  Chase.     1818  N.  Delaware  St.,  Indianapolis, 
Ind. 
Mural  P.     Born  Indianapolis,  Nov.  21,  1891.     Pupil 
HAI  under  Forsyth  and  Wheeler;  AIC.     Member: 
Alumni  Asso.  of  AIC. 
Cassady,  U.  G.,  1818  N.  Delaware  St.,  Indianapolis,  Ind. 

D.     Born  Iowa.     Self-taught.     Specialty,  art  glass. 
Chandler,  Miss  Clyde  Giltner.     6o61   Ellis  Ave.,  Chi- 
cago, 111. 
S.     Born  Evansville,  Ind.     Pupil  Lorado  Taft.    Mem- 
ber:  Chicago   SA.     Awards:   second  prize   Chicago 
Artists'    Exp.,   AIC.      Represented:    Sidney    Smith 
Memorial  Fountain,  Dallas,  Tex.,  1907. 
Chase,  Mary  M.     Shabbona,  111. 

P.;   C.     Born   Indianapolis,  March  23,   1861.      Pupil 
AIC,  and  of  Frederick  W.  Freer.     Member:  ASL 
of  Chicago. 
*Chase,  William  M. 

P.;  r.  Born  Franklin,  Ind.,  Nov.  1,  1849.  Died  Oct. 
25,  1916.  Pupil  B.  F.  Hays  in  Indianapolis;  J.  O. 
Eaton  in  New  York;  A.  Wagner  and  Piloty  in  Mu- 
nich. Member:  ANA  1888;  NA  1890;  SAA  1879; 
SWCS;  Munich  Secession;  Ten  Am.  P.;  Nat.  Inst. 
A.  L.;  Am.  Acad.  AL;  Port.  P.;  NAC;  Lotus  Club. 
Awards:  Medal  Centennial  Exp.  1876;  hon.  men. 
Paris  Salon  1889;  first  prize  Cleveland  Art  Asso. 
1894;  Shaw  prize  SAA  1895;  gold  medal  of  honor 

*  Deceased 

361 


ART  AND  ARTISTS  OF  INDIANA 

PAFA  1895;  gold  medal  Paris  Exp.  IQOO;  Temple 
gold  medal  PAFA  1901;  gold  medal  Pan-Am  Exp., 
Buffalo,  1901;  gold  medal  Charleston  Exp.  1902; 
first  Corcoran  prize  S.  Wash  A.  1904;  Proctor  prize 
NAD  1912;  hors  concours  (jury  awards)  P-P  Exp. 
1915.  Represented:  "A  Lady  in  Black/'  "Seven- 
teenth-Century Lady/'  "Still  Life/'  and  "Carmen- 
ita/'  Metropolitan  Museum,  New  York,  N.  Y. ;  "An 
English  Cod"  and  "The  Model/'  Corcoran  Gallery, 
Washington,  D.  C;  "Still  Life/'  Wilstach  Gal- 
lery, Philadelphia,  Pa.;  "The  Mirror,"  "Still 
Life/'  "Woman  with  Basket,"  and  "Robert  Blum," 
Cincinnati  Museum,  Cincinnati,  O.;  "Still  Life," 
"Woman  in  Pink,"  "Landscape,"  "In  Venice,"  and 
"A  Child/'  Rhode  Island  School  of  Design,  Provi- 
dence, R.  I.;  "Still  Life — Fish/'  Museum  of  Fine 
Arts,  Boston,  Mass.;  "Shinnecock  Hills,"  National 
Gallery  at  Washington,  D.  C. ;  "Lady  with  White 
Shawl"  and  "Still  Life — Fish,"  Pennsylvania 
Academy  of  Fine  Arts,  Philadelphia,  Pa.;  "After 
the  Shower,"  "Dorothy,"  and  "Still  Life — Fish," 
Herron  Art  Institute,  Indianapolis,  Ind. ;  "Alice," 
and  "North  River  Shad,"  Art  Institute  of  ChicagO;, 
111.;  "Fish,"  "In  the  Antiquary's  Shop,"  "In  the 
Studio,"  and  "L.  F.  Emmet,"  Brooklyn  Institute 
Museum;  "Self-Portrait/*  Art  Association,  Rich- 
mond, Ind. 

*Clark,  Bergie  C. 

P.  Born  Butler  Co.,  Ohio,  Dec.  13,  1868;  died  Madi- 
son, Ind.,  March  16,  1912.  Pupil  William  Mc- 
Kendree  Snyder. 

Clark,  Virginia  Keep.  3  East  Ontario  St.,  Chicago,  111. 
/.;  Port  P,  Born  New  Orleans,  La.,  Feb.  17,  1878. 
Pupil  Forsyth,  Indianapolis;  Beckwith;  Howard 
Pyle,  Philadelphia;  W.  A.  Clark;  Chase  School  and 
ASL  of  N.  Y.  Member:  SWA;  Chicago  SA.  Rep- 
resented: Illustrated  "Two  Little  Prisoners"  by 
Thomas  Nelson  Page;  "Little  Girl  Blue/'  "Live 
Doll  Series/'  "Little  Red,  White,  and  Blue,"  by 
I.  S.  Gates. 

*  Deceased 

362 


WHO'S  WHO  IN  ART 

Clawson,  Charles  Howard.     Richmond,  Ind. 

Ldscp.  P.;  I.     Born  Richmond,  Oct.  14,  1889.     Pupil 
Cin.  AA  and  John  A.  Seaford.     Member:  Cin.  Art 
Club. 
Clusmann,  William.     2541  Haddon  Ave.,  Chicago,  111. 
P.     Born  La  Porte,  Ind.,  1859.    Pupil  Royal  Academy 
in  Munich  under  Benczur.     Member:  Chicago  SA; 
Chicago   WCC;  AGC;   SWA.     Awards:   hon.   men. 
Stuttgart  1884;  Grower  prize  AIC   1913. 
Coats,  Randolph  S.     Art  Academy,  Cincinnati,  O. 

P.     Born  Richmond,  Ind.,  Sept.  14,  1891.     Pupil  For- 
syth; Cin.  AA.    Awards:  hon.  men.  Richmond,  Ind.. 
1917;    Holcomb   prize    1921.      Member:    Duveneck 
Society  of  Painters;  MacDowell  Club. 
CoFiELD,    Myrtle    Hedrick    (Mrs.    Robert    B.    Cofield). 
2331    Highland  Ave.,   Cincinnati,   O. 
P.     Born  Goshen,  Ind.,  July  20,  1880.     Pupil  Muncie 
Normal,  in  design;  Cincinnati  AA,  under  Nowottny 
and  Meakin;  HAI  of  Indianapolis,  under  J.  Ottis 
Adams,  Stark,  and  Brandt  Steele. 
Cole,  Blanch  Dougan.     1472  Pearl  St.,  Denver,  Col. 
P.;   I.;    T.     Born    Richmond,    Ind.,   Aug.    12,    1869- 
Pupil  Bouguereau,  Robert-Fleury,  and  Whistler  in 
Paris.     Member:  PCC  of  Chicago;  Denver  AC. 
Coleman,  Glen  O.       1931  Broadway,  New  York,  N.  Y. 
P.     Born   Springfield,   O.,   educated   in    Indianapolis. 
Pupil  of  Stark,  Chase,  and  Henri. 
Comingore,  Ada  M.     The  Chalfont,  Indianapolis,  Ind. 
P.     Born  near  Indianapolis.     Pupil  of  Ind.  AS  under 
Steele  and  Forsyth;  ASL  of  N.  Y.  under  Kenyon 
Cox,  Chase,  and  Rhoda  Holmes  Nichols. 
*CoMPERA,  Alexis. 

P.  Born  South  Bend,  Ind.,  April  15,  1856;  died  Cali- 
fornia, July,  1906.  Pupil  Harvey  Young  and 
W.  H.  M.  Cox  in  California,  and  of  Benj.  Constant 
in  Paris.  For  some  years  he  lived  in  Denver. 
CoNNAWAY,  Jay  H.  311  E.  Walnut  St.,  Indianapolis; 
summer  Broad  Ripple,  Ind. 
P.  Born  Liberty,  Ind.,  Nov.  27,  1893.  Pupil  Chase 
and  William  R.  Reese.  Member:  ASL  of  N.  Y. 
Represented:  "Winter,"  HAI,  Indianapolis. 

*  Deceased 

363 


ART  AND  ARTISTS  OF  INDIANA 

*CoNNER,  Charles  S. 

Ldscp.  P.  Born  Richmond,  Ind.,  Feb.  4,  1852;  died 
Richmond,  Ind.,  Feb.  15,  1905.  Self-taught.  Rep- 
resented: "In  the  Meadow,"  HAI;  "November 
Day,"  Richmond  Art  Asso.;  "The  Woodland  Pool," 
Indianapolis  Star. 
Conner,  Albert  Clinton.     Manhattan  Beach,  Cal. 

Ldscp.  P.     Born  Richmond,  Ind. 
CooTS,  Howard  M.     Lakeside,  Ohio. 

P.     Born  Indianapolis,  Ind.,  1886.     Pupil  HAI;  Cin. 
AA;  PAIA. 
CouDERT,  Amalia  Kussner.     53  West  48th  St.,  New  Yjrk, 
N.  Y. 
Min.  P.     Born  Terre  Haute,  Ind.,  March  26,  1873. 
Covington,  Annette.     Chicago. 

Port.  P.     Born  Connersville,  Ind. 
*Cox,  Jacob. 

Port.  P.;  Ldscp.  P.  Born  Philadelphia,  Pa.,  Nov.  9, 
1810;  died  Indianapolis,  Jan.  2,  1892.  Self-taught. 
Pupil  National  Academy  of  Design  I860.  Mem- 
ber: hon.  member  Art  Asso.  of  Indianapolis.  Rep- 
resented: Portrait  of  Dr.  C.  J.  McLean;  "Madona"; 
"Landscape,"  HAI;  portraits  Gov.  RatlifF  Boon, 
Gov.  James  Brown  Ray,  Gov.  Noah  Noble,  Gov. 
David  Wallace,  Gov.  Samuel  Bigger,  Gov.  Joseph 
A.  Wright,  Gov.  Henry  S.  Lane  in  State  Capitol. 
*Craft. 

Port.  P.     In  Indiana  in  18 — .     Painted  the  portraits 
of  La  Fountain,  last  chief  of  the  Miami   Indians. 
Portraits     owned    by    his     daughter,     Mrs.     Chris 
Engleman,  near  Huntington,  Ind. 
Cronyn,   George   William.     679    Printon    St.,    Portland, 
Oregon;   33   Ellison  Ave.,  Bronxville,   N.   Y. 
Ldscp.    P.     Born    Anderson,    Ind.      Resident    in    In- 
dianapolis 1888-1902.     Pupil  ASL  of  N.  Y.;  Birge 
Harrison,  Arthur  W.  Dow,  and  Dr.  Denman  Ross; 
stage-manager    and    scene   designer    Little    Theater 
Society  of  Indiana,  Nov.-Feb.  1916.     Author:  Book 
of  Poems   1915;  play  "The  Greaser,"  produced  at 
Cort  Theater,  New  York,  1914. 
Crosier,  Sid.     Corydon,  Ind. 
P.     Pupil  Cin.  AA. 

*  Deceased 

364 


GEORGE  ADE 


ROBERT  W.  GRAFTON 


OWXED  BY   PURDinE:    UNIVERSITY 


WHO'S  WHO  IN  ART 

CULBERTSON,    MaRY    HiLL. 

P.  In  Indianapolis  for  many  years.  Pupil  Jacob 
Cox. 

Davidson,   Oscar   L.     3435    Kenwood  Ave.,   Indianapolis. 
P.;  /.     Born  Fithian,  111.,  March  2,  1875.     Member; 
Indiana  Illustrators'  Club;  Toy-Maker. 

Davisson,  Homer  Gordon.     Ft.  Wayne,  Ind. 

P.;  T.     Born  Blountsville,  Indiana,  April  14,  1866. 
Pupil  PAFA;  Corcoran  School  of  Art  in  Washing- 
ton; ASL  of  N.  Y. ;  studied  three  years  in  Europe. 
Director  Ft.  Wayne  School  of  Art. 

Dean,  David.     1307  N.  Meridian  St.,  Indianapolis,  Ind. 
P.     Born   Indianapolis.      Pupil   Chicago  Academy  of 
Fine  Arts. 

De  Haven,  Frank  P.  23  West  24th  St.,  New  York, 
N.  Y. 
P,  Born  Bluffton,  Ind.,  Dec.  26,  1856.  Pupil 
George  H.  Smillie.  Awards:  Inness  prize,  Salma. 
C  1900;  Shaw  prize,  Salma  C  1901;  hon.  men.  Pan- 
Am  Exp.,  Buffalo,  1901;  silver  medal  Charleston 
Exp.  1902;  silver  medal  St.  Louis  Exp.  1904.  Mem- 
ber: ANA  1902,  Salma  C  1899-  Represented:  "In- 
dian Camp  Near  Custer,"  "Landscape,"  Brooklyn 
Inst.  Museum;  "Castle  Creek  Canyon,"  National 
Gallery,  Washington,  D.  C. 

Dennis,  James  M.     Detroit,   Mich. 

P.  Born  Dublin,  Ind.  Pupil  J.  O.  Eaton  and  Alex- 
ander Wyant,  NAD  of  N.  Y.  Member:  Hopkins 
Club,  Detroit.  Represented:  portraits  of  John  C. 
New,  Treasury  Department,  Washington,  D.  C. ; 
Gov.  James  A.  Mount,  State  Capitol,  Indiana;  Jef- 
ferson Davis,  Capitol  of  Tennessee;  Hannah  Rey- 
olds,  Detroit  Museum  of  Art;  Gen.  Robert  E.  Lee, 
City  Hall,  Savannah,  Ga. ;  Capt.  John  Wheaton, 
Chatane  Artillery  Club;  murals  in  Hotel  Cadillac, 
Detroit. 

Dessar,  Louis  Paul.  27  West  67th  St.,  New  York,  N.  Y. ; 
summer,  Becket  Hill,  Lyme,  Conn. 
P.  Born  Indianapolis,  Jan.  22,  1867.  Pupil  NAD 
of  N.  Y. ;  Bouguereau;  Robert- Fleury  and  Ecoles 
des  Beaux- Arts  in  Paris.  Member:  SAA  1898; 
ANA  1900;  NA  1906;  Salma  C  1895;  Lotos  C;  A 
Fund  S.     Awards:   third-class   medal  Paris  Salon 

365 


ART  AND  ARTISTS  OF  INDIANA 

1891;  medal  Columbian  Exp.  Chicago  1893;  hon. 
men.  C.  I.  Pittsburgh  1897;  second  Hallgarten  prize 
NAD  1899;  first  Hallgarten  prize  NAD  1900; 
bronze  medal  Paris  Exp.  1900;  silver  medal  Pan- 
Am  Exp.  Buffalo  1901;  silver  medal  Charleston 
Exp.  1902.  Represented:  "Return  to  the  Fold" 
and  "The  Watering-Place/'  National  Gallery, 
Washington,  D.  C;  "Wood-Cart/'  Metropolitan 
Museum,  New  York,  N.  Y. ;  "Early  Morning"  and 
"Evening  at  Longpre,"  Art  Museum,  Montclair, 
N.  J. 

DOBBS,   J. 

Port.  P.     Lived  in   Dublin,   Ind.,   about   1869;   later 
went  to  New  York  City. 
DoEL,  Reed.    . 

P.     Pupil  HAI. 
Donaldson,  Alice  Willits,  Huguenot  Park,  N.  Y. 

P.     Born  Pendleton,  Ind. 
*DuNLAP,  James  Boliver. 

P.;  S.     Born  Indianapolis,  Ind.,  May  7,  1825;  died 
Indianapolis,     Ind.,    Sept.    4,     1864.       Self-taught. 
Represented:   busts   of   Capt.    John   A.    Sutter   and 
Abraham  Lincoln,  State  Capitol,  Indianapolis. 
*Eaton,  Joseph  Orville. 

P.     Born  Ohio,  Feb.  8,   1829;  died  Yonkers,  N.   Y., 
Feb.    7,    1875.      Lived    in    Indianapolis    two    years 
from    1846-48.      Exhibited    works:    "View    on    the 
Hudson,"     1868;     "Greek    Water-Carrier,"     1872; 
"Lady     Godiva,"     1874;     "Looking     through     the 
Kaleidoscope,"   1875;  "Self-Portrait,"   1875,  NAD. 
Eggemeyer,    Maude    Kaufman.     51    S.    18th    St.,    Rich- 
mond, Ind. 
Ldscp.  P.     Born  Newcastle,  Ind.    Pupil  J.  E.  Bundy; 
Cin.  Art  A.;  Margaret  Overbeck  in  design;  H.  L. 
Meakin  in  painting;  Clementine  Barnhorn  in  model- 
ing; Nowottny  in  figure.     Awards:  Richmond  hon. 
men.  1907-1909;  Richmond  prize  1910;  Mary  T.  R. 
Foulke,  hon.  men.   1910.     Member:  RAA.     Repre- 
sented: RAA. 
Ely,  Donald  H.     40  W.  St.  Joe  St.,  Indianapolis,  Ind. 
P^C, 

*  Deceased 

366 


WHO'S  WHO  IN  ART 

Emrich,  Harvey.     308  W.  Morris  St.,  Indianapolis,  Ind.; 
146  West  55th  St.,  New  York. 
/.     Born   Indianapolis,   Oct.   9,   1884.      Pupil   Stark; 
HAI  of  Indianapolis. 
Engle,  Harry  Leon.     Palette  and  Chisel  Club,  Chicago, 
111. 
Ldscp.    P.     Born    Richmond,    Ind.,    Feb.    24,    1870. 
Pupil    AIC.      Member:    PCC    (pres.    19IO-I91I); 
AGC;     Chicago    AS.       Represented:     "Old     Lyme 
Road,"   purchased    1914   by   Chicago  Art   Commis- 
sion. 
*EvANs,  De  Scott. 

P.;   T.     Born   Boston,  Wayne   Co.,   Ind.,   March   28, 
1847;    drowned    at    sea    July    4,    1898.      Pupil    of 
Bouguereau   in    Paris    1877. 
Everts,  Dr.  Orpheus. 

P.     In   Indianapolis   for   some   years. 
*Eyden,  William  T. 

Ldscp.  P,     Born  Hanover,  Germany,  Aug.   5,   1859; 

died   Richmond,   Ind.,   March   22,    1919-      Came  to 

America   in    1866.      Self-taught;    painter   of   beech 

woods.     Member  and  one  of  the  organizers  of  the 

Richmond,  Ind.,  Art  Association. 

Eyden,  William  T.  Jr.     1137  Main  St.,  Richmond,  Ind. 

Ldscp.   P.     Pupil   W.    T.    Eyden,   Sr.      Represented: 

"Falling  Leaves,"  Carnegie  Library,  Lebanon,  Ind. 

Falls,  Charles   Buckles.     2   East  23d  St.,   New  York, 

N.  Y. 

/.     Born  Ft.  Wayne,  Ind.,  Dec.  10,  1874.     Member: 

SI  1909. 

Ferry,  Mrs.  A.  E. 

P.;  T.    Pupil  NAD  New  York  in  1865.   Studio  classes 
in   Indianapolis    for   a    few   years    in   the   eighties. 
Died  in  New  York. 
Fetsch,  C.  p.     New  Albany,  Ind. 

P. 
*Fiscus,  Charles  J. 

P.  Born  Indianapolis,  May  26,  I86I;  died  Indianap- 
olis, Feb.  6,  1884.  Pupil  Gookins  and  Love  in  In- 
dianapolis School  of  Art.  Represented:  Art  School 
of   HAI,   Indianapolis. 

*  Deceased 

367 


ART  AND  ARTISTS  OF  INDIANA 

Fitch,  Florence.     Indianapolis,  Ind. 

T.  Born  Maples,  Ind.  Pupil  Pratt  Inst.;  director 
of  art  instruction  public  schools,  Indianapolis. 
Member:  PC. 

Fitch,  Mary.     Logansport,  Ind. 
P. 

FiSK,  Stella.     319  E.  31st  St.,  New  York,  N.  Y.;  An- 
gola, Ind. 
S.     Born  Angola,  Ind.     Pupil  AIC  under  Taft  and 
Mulligan.     Member:  SS  of  Ind. 

FoRKNER,  Edgar.     4558   Prairie  Ave.,  Chicago,  111. 

Ldscp.  P,  Born  Richmond,  Ind.  Pupil  ASL  of  N.  Y. 
under  Beckwith,  Wiles,  Chase,  and  Frank  Du 
Mond.     Member:  Chicago  WCC  and  Seattle  AC. 

Forsyth,  Alice  Atkinson    (Mrs.  William  Forsyth).     15 
S.  Emerson  Ave.,  Indianapolis,  Ind. 
P.     Born    Oxford,    Ind.      Pupil    AIC;    Indiana    Art 
School  under  Forsyth.     Member:  PC. 

Forsyth,  William.  15  S.  Emerson  Ave.,  Indianapolis. 
P.;  T.  Born  Hamilton  Co.,  Ohio.  Pupil  Ind.  School 
of  Art  under  Love  and  Gookins;  Royal  Academy, 
Munich,  under  Loefftz,  Benczur,  Gysis,  and  Liet- 
zenmeyer.  Awards:  medal  Munich  1885;  silver 
medal  for  water-colors,  bronze  medal  for  oils,  St. 
Louis  Exp.  1904;  hon.  men.  Richmond  1906  and 
1911 ;  bronze  medal  Buenos  Aires  Exp.  19IO;  Foulke 
prize  Richmond,  Ind.,  I906  and  1912;  Fine  Arts 
Bldg.  prize  SWA  1910;  bronze  medal  for  oils  and 
silver  medal  for  water-colors  P  P  Exp.  1915.  Mem- 
ber: SWA  (pres.  1915);  hon.  member  AAI;  in- 
structor HAL  Represented:  "Autumn  at  Vernon," 
"The  Constitutional  Elm,  Corydon,"  "Close  of  a 
Summer  Day,"  and  "Still  Life,"  "The  Old  Market 
Woman,"  HAI,  Indianapolis;  "Autumn  Roadside," 
Richmond,  Ind.,  Gallery;  murals  City  Hospital, 
Indianapolis;  "May  Morning,"  Kansas  City  Art 
Asso. ;  "Late  Summer  Afternoon,"  Minnesota  Art 
Asso. ;  "An  Autumn  Day,"  Lawrenceburg  High 
School;  Cin.  Art  Academy. 

*FoRGY,  John  D. 

P.;   /.     Born    Logansport,    Ind.;    died    Des    Moines, 

*  Deceased 

368 


THE   VISITOR  KATHERINE   H.  WAGENHALS 

OWNED  BY  ART  ASSOCIATION  OP  INDIANAPOLIS 


WHO'S  WHO  IN  ART 

Iowa.  Pupil  McMicken  School  of  Design,  and 
Albert  Bierstadt.  Illustrator  for  Eastern  maga- 
zines. 

Friedley,  Durr.     Metropolitan  Museum,  New  York. 

Acting  Curator  Department  of  Decorative  Arts, 
Metropolitan  Museum.  Pupil  ASL  of  N.  Y. ;  Har- 
vard College  (Magna  cum  laude  A.  B.  IQH); 
Royal  College  of  Art,  South  Kensington,  London; 
W.  R.  Lethaby  and  Denham  Ross.  Work:  windows 
and  goldsmith's  work  in  Chapel  of  Blessed  Sacra- 
ment, St,  John's  Church,  Newport,  R.  I.,  St.  John's 
Church,  Williamstown,  Mass.,  St.  John's  Church 
Roxbury,  Mass. 

*Freeman,  William  R. 

Port.  P.  Born  New  York  State  about  1820;  died 
St.  Louis  about  1906.  Represented:  portrait  of 
Gov.  Thomas  A.  Hendricks,  State  Library,  In- 
dianapolis. 

Fry,  John  Henning.     222  W.  59th  St.,  New  York,  N.  Y. 
P.     Born    in    Indiana.       Pupil    of     Boulanger     and 
Lefebvre  in  Paris.     Member:  Lotos  C;  Paris  AAA; 
A.  Fund  S;  Salma  C  1902. 

Fry,  Laura  A.     Lafayette,  Ind. ;  Purdue  Univ. 

P.;  T.;  Potter.  Born  Ohio.  Pupil  of  Noble,  Rebisso; 
ASL  of  N.  Y. ;  studied  in  France  and  England. 
Awards:  two  medals  Columbian  Exp.  1893;  three 
prizes  in  woodcarving  in  Cincinnati.  Member:  Cin. 
Pottery  Club;  Lafayette  Woman's  A.  C;  Lafayette 
Art  Asso. ;  head  of  Art  Dept.  Purdue  Univ.  Rep- 
resented: Carved  panel.  Music  Hall,  Cincinnati. 

Fulton,    Jane    Louise.     Portland,    Ind.;    studio   422    E. 
Main  St. 
P.;  T.     Born  Portland,  Feb.   14,   1874.     Pupil  AIC 
and  Gertrude  Estabrook. 

*Galloway,  Walter. 

/.  Born  Pendleton,  Ind.,  Oct.  10,  1870;  died  Sept. 
7,  1911.  Pupil  Forsyth;  ASL  of  N.  Y.  On  staff 
of  Indianapolis  News,  New  York  World,  and  Puck. 

Garber,    Daniel.     1819    Green    St.,    Philadelphia,    Pa. 
Summer,  Lumberville,  Pa. 
P.;  T.     Born  N.  Manchester,  Ind.,  April  11,   1880. 

*  Deceased 

369 


ART  AND  ARTISTS  OF  INDIANA 

Pupil  of  Cin.  AA  under  Nowottny;  PAFA  under 
Anschutz.  Member:  ANA  IplO;  NA  1913;  fel- 
lowship PAFA;  Salma  C;  instructor  PAFA  since 
1909.  Awards:  first  Tappan  prize  PAFA  1904; 
Cresson  traveling  scholarship  PAFA  1905-1907; 
first  Hallgarten  prize  1909;  hon.  men.  ACP  1910; 
hon.  men.  CI  Pittsburgh  I9IO;  fourth  Clark  prize 
Corcoran  Gallery  191O;  bronze  medal  Buenos  Aires 
Exp.  191O;  Lippincott  prize  PAFA  I9II;  Palmer 
prize  AIC  1911;  second  W.  A.  Clark  prize  and  sil- 
ver Corcoran  medal  1912;  second  Altman  prize  NAD 
1915;  gold  medal  P-P  Exp.  San  F.  1915;  Shaw 
Purchase  prize  Salma  C  191 6;  Stotesbury  prize 
PAFA  191 8.  Represented:  "April  Landscape/' 
Corcoran  Gallery,  Washington;  "Winter — Rich- 
mont,"  Cincinnati  Museum;  "Hills  of  Byram"  and 
"Towering  Trees/*  Art  Institute,  Chicago;  also  in 
University  of  Missouri. 

Gilbert,  Manson.     100  Sunset  Ave.,  Evansville,  Ind. 

Arch.;  P.  Born  Evansville,  May  29,  1882.  Pupil 
Academia  Ligurstica  Reale  in  Genoa;  Scuola 
Rinaldo  in  Venice;  ficole  des  Beaux-Arts  in  Paris. 

GiRARDiN,  Frank  J.     Richmond,  Ind. 

Ldscp.  P.  Born  Louisville,  Ky.,  Oct.  6,  1856.  Pupil 
Thomas  Noble  of  Cin.;  Cin.  AA.  Member:  Cin. 
AC;  RAA.  Awards:  Richmond  prize  1912;  Cin. 
Art  Club  prize  1903;  Richmond  hon.  men.  I9II- 
1914.  Represented:  Richmond  Art  Asso.;  Cin.  AC; 
Queen  City  Club;  Marion  Ind.  Art  League;  Con- 
nersville  Art  Asso. 

*^Glessing,  Thomas  B. 

P.  Born  London,  Eng.,  1817;  died  Boston,  Mass.^ 
1882.  Scenic  painter  in  Indianapolis  from  1861  to 
1873. 

Goodwin,  Frances.     3208  Main  St.,  Newcastle,  Ind. 

S.  Born  Newcastle.  Pupil  Ind.  Art  School;  AIC; 
studied  in  Paris.  Awards:  hon.  men.  Columbian 
Exp.  1893.  Represented:  "Education,"  Columbian 
Exp.  1893;  bust  of  Vice-President  Colfax,  United 
States  Senate  Gallery;   "Robert  Dale  Owen,**  In- 

*  Deceased 

370 


WHO'S  WHO  IN  ART 

diana    State    Capitol;    "Benjamin    Parker/*    HAI. 
Member:  president  Sculptors'  Society  of  Ind. 
Goodwin,  Helen  M.     3208  Main  St.,  Newcastle.     Ind. 

Min.    P.     Born    Newcastle,    Ind.       Pupil    ALS    of 
N.  Y. ;  r Academic  Julien;   Collin  and  Courtois  in 
Paris.     Member:  Paris  AAA. 
*GooKiNs,  James  R. 

P.;  T.     Born  Terre  Haute,  Ind.,  1840;  died  Chicago, 
111.,  1906.     Pupil  Royal  Academy  in  Munich.     Rep- 
resented: Terre  Haute  Library. 
Gordon,  Saint  Clair.     26  Tree  Studio  Building,  Chicago, 
111. 

Port.  P.;  Ldscp.  P.     Born  Veedersburg,  Ind.     Pupil 
AIC  and  Chicago  Academy  of  Fine  Arts.     Member: 
Chicago  SA;  PCC;  AG  of  Chicago;  editor  and  art 
critic. 
Goth,  Marie.     2055   Ruckle  St.,  Indianapolis,  Ind. 

P.     Born  Indianapolis,  Aug.   15,  1887.     Pupil  HAI; 
ASL  of  N.  Y.,  also  studied  under  Du  Mond,  Chase, 
F.  Luis  Mora,  John  C.  Johansen,  and  Robert  Ait-^ 
ken.     Member:  Three  Arts  Club  of  N.  Y. 
Graf,  Carl  C.  43  Union  Trust  Building,  Indianapolis,  Ind. 

P.;  I.  Born  Bedford  Ind.,  Sept.  27,  1890.  Pupil 
HAI.  Represented:  murals.  City  Hospital,  In- 
dianapolis; "In  the  Parks,"  Bedford  High  School. 
Awards:  Holcomb  prize  19I8,  Indianapolis.  Mem- 
ber: SIA. 
Grafton,  Robert  W.  131  W.  Second  St.,  Michigan  City, 
Ind. 

PoH.  P.;  P.  Born  Chicago,  1876.  Pupil  1' Academic 
Julien,  Paris,  Holland  and  England.  Awards: 
Foulke  prize  Richmond,  Ind.,  I91O.  Member:  Chi- 
cago SA;  ex-member  Exhibition  Committee  Muni- 
cipal Art  League  of  Chicago;  AGC;  PCC  (ex-presi- 
dent). Represented:  Union  League  Club,  Chicago; 
Art  Gallery,  Richmond,  Ind.;  Purdue  University; 
Northwestern  University;  mural  decorations  Rum- 
ley  Hotel,  La  Porte,  Ind.;  Fowler  Hotel,  Lafayette, 
Ind.;  Anthony  Hotel,  Ft.  Wayne,  Ind.;  portrait 
George  Ade,  Purdue  University. 

•  Deceased 

371 


ART  AND  ARTISTS  OF  INDIANA 

Gray,  Marie  Chilton.     Studio  41  Union  Trust  Building, 
Indianapolis,  Ind. 
P.     Born   Philadelphia,   Pa.,   Nov.   22,    1888.      Pupil 
Forsyth  and  Stark  in  Indianapolis.     Member:  SIA. 

Griffith,  Helene    (Mrs.   W.   W.   Griffith).     3115   South 
Wayne  Ave.,  Ft.  Wayne,  Ind. 
P.;  D.     Born  Bavaria.     Pupil  in  Paris  and  Munich 
and  AIC. 

Griffith,  Louis  Oscar.  910  South  Michigan  Ave.,  Chi- 
cago. 
Ldscp.  P.;  E.  Born  Greencastle,  Ind.,  Oct.  10,  1875. 
Pupil  Frank  Reaugh;  St.  Louis  School  of  Arts; 
AIC;  studied  in  Brittany.  Member:  Chicago  SA; 
Chicago  SE;  AGC;  PCC.  Awards:  bronze  medal 
P-P  Exp.  1915.  Represented:  Union  League  Club 
of  Chicago;  "Winter,"  Chicago  Municipal  Collec- 
tion, Delgado  Museum  New  Orleans,  La.,  Oakland 
(Cal.)  Museum. 

Griffith,  Rosa  B.     Terre  Haute,  Ind. 

T.  Born  Terre  Haute.  Pupil  Charles  A.  Cumming, 
J.  Francis  Smith,  and  Arthur  W.  Dow.  Art  super- 
visor in  Terre  Haute  public  schools  for  sixteen 
years.  Member:  Allied  Association  of  Art  Teach- 
ers in  Indiana. 

Griswold,  Bert  J.     Ft.  Wayne,  Ind. 

Cartoonist;  I.     Staff  Ft.  Wayne  Sentinel, 

Gruelle,  John  B.     New  York,  N.  Y. 

/.  Born  Areola,  111.,  Dec.  24,  1880.  Went  to  In- 
dianapolis 1882.  Pupil  of  father,  R.  B.  Gruelle; 
staff  of  New  York  Herald. 

Gruelle,  Justin   C.     Rembrandt  Apt.,  Haven  Ave.  and 
180th  St.,  New  York,  N.  Y. 
P.;  I.     Born  Indianapolis.  July  1,  1889-     Pupil  R.  B. 
Gruelle;  HAI;  ASL  of  N.  Y.     Awards:  hon.  men. 
Richmond,  Ind. 

*Gruelle,  Richard  B. 

P.  Born  Cynthiana,  Ky.,  Feb.  22,  1851;  died  In- 
dianapolis, Nov.  8,  1914.  Self-taught.  Member: 
hon.  member  Art  Asso.  of  Indianapolis;  SWA 
(Asso.)  Hoosier  Group.  Represented:  "The  Pass- 
ing   Storm,"    Indianapolis    Public    Library;    "The 

*  Deceased 

372 


WHO'S  WHO  IN  ART 

Canal — Morning/'  "Inlet  Gloucester  Harbor,"  HAI; 
"In  Verdure  Clad/'  Public  Gallery,  Richmond,  Ind. ; 
"A  Summer  Day,"   Propylaeum,  Indianapolis.     Au- 
thor  of    "Notes    Critical   and    Biographical   on    the 
Collection  of  William  T.  Walters  of  Baltimore."    • 
Guernsey,  Eleanor  Louise.     James  Milliken  Univ.,  De- 
catur, 111. 
S.;    T.     Born    Terre    Haute,    Ind.,    March    9,    1878. 
Pupil  AIC.     Member:  ASL  of  Chicago;  SS  of  Ind. 
Award:  Walton  prize  AIC  1909- 
*GuFFiN,  Mrs.  Lotta. 

P.     Born  Indianapolis;  died  Shelbyville,  Ind.     Pupil 
Jacob  Cox. 
Hadley,  Paul.     44  Union  Trust  Building,  Indianapolis. 
Ind. 
P.;  D.     Born  Mooresville,  Ind.     Pupil  Industrial  Art, 
Philadelphia.     Member:  SI  A.     Represented:  "Dec- 
oration,"  Eagles'    Club,   Indianapolis.      Design   for 
Indiana  flag  accepted  by  the  legislature  in  1917. 
Hager,  Luther  George.     Seattle,  Wash. 

/.     Born   Terre   Haute,   Ind.,   Cartoonist   for   Seattle 
Post-Intelligencer.     Pupil  ASL  of  N.  Y. 
Hager,  John  R.     Seattle,  Wash. 

I.     Born     Terre     Haute,     Ind.       Cartoonist     Seattle 
Daily   Times. 
Hagerman,  Worthington  E. 

P.     Born  Carmel,  Ind.,  1878.     Pupil  AIC. 
*Haldeman,  M.  O. 

P.     Born    Marion,    O. ;    died   Indianapolis,    Sept.    21, 
1902.     Came  to  Indianapolis  in  1888.     Self-taught. 
Water-color  painter. 
Hamilton,   Agnes.     146   W.   Lehigh   Ave.,   Philadelphia, 
Pa. 
P.      Born    Ft.    Wayne,    Ind.      Member:    SWA;    Ft. 
Wayne  Art  Asso. ;  Fellowship  PAFA. 
Hamilton,  Jessie.     Clinton  St.,  Ft.  Wayne,  Ind. 

P.;  E.     Born  Ft.  Wayne.     Member:  SWA  Ft.  Wayne 
Art  Asso. ;  Fellowship  PAFA.     Pupil  Cecilia  Beaux. 
Hamilton,  Norah.     Hull  House,  Chicago,  111. 

E.     Born  Ft.  Wayne,  Ind.,  1873.     Pupil  Cox  in  New 

*  Deceased 

373 


ART  AND  ARTISTS  OF  INDIANA 

York;  Whistler  in  Paris.     Member:  Chicago  Society 
of  Etchers. 
Hamman,  Grace.     Pike  St.,  Goshen,  Ind. 

P.;   I.     Born   Goshen,   Ind.,    Dec.    29,    1895.      Pupil 
Carl  N.  Werntz,  Academy  of  Fine  Arts,  Chicago. 
*Harding,  Chester. 

Port.  P.     Born  Mass.,   1792.     Pupil  PAFA;   studied 
in  Boston  and  England.     In  Indiana  about  1820. 
Hardrick,   John   W.     3235    Oakland  Ave.,   Indianapolis, 
Ind. 
P.     Born  Indianapolis.     Pupil  HAI. 
Hartman,  William  A.     1615  E.  55th  St.,  Chicago,  111. 
P.;  D.     Born  Altoona,  Pa.,  Oct.  19,  1882.     Lived  at 
Muncie,  Ind.,  during  his  youth.     Pupil  of  J.  Ottis 
Adams;  Cin.  AA;  AIC;  Pratt  Inst.;  studied  in  the 
Atelier  Berlepsch;  Valendas  in  Munich.     Designer 
of  art  glass.      Member:      Faculty   of   Academy   of 
Fine  Arts,  Chicago,  for  three  years. 
Harvey,    Jeanette    P.     4167    Washington    Boulv.,    In- 
dianapolis. 
P.     Born    Indianapolis.      Pupil   HAI    under    Forsyth 
and  Wheeler.    Award:  Chamber  of  Commerce  poster 
prize  for  military  training  camps. 
Hasselmann,  Anna.     Herron  Art  Institute,  Indianapolis, 
Ind. 
P.     Born    Indianapolis.      Pupil   Steele    and    Forsyth. 
Docent   HAI. 
Hausdorfer,  Richard  B.     312  S.  Noble  St.,  Indianapolis, 
Ind. 
P.;  E.     Born  Indianapolis,  1894.     Pupil  HAI  under 
Stark,  Forsyth,  and  Wheeler.     Represented:   HAI 
school. 
Hawkins,    H.    Harry.      1326    N.    26th    St.,    Birmingham, 
Ala. 
Mural   P.     Born    New    Harmony,    Ind.      Pupil   AIC 
under  Vanderpoel;  Frederick  Freer;  Howard  Pyle. 
Member:  ALS  of  Chicago;  Birmingham  Art  Club. 
Represented:  Gallery  of  New  Harmony  Ind. 
*Hays,  Barton  S. 

P.     Born  Greenville,  O.,  April  5,  1826;  died  Minne- 
apolis, Minn.,  March  14,   1914.     Lived  in  Indiana 

*  Deceased 

374 


WHO'S  WHO  IN  ART 

from  1850  to   1882.     Self-taught.     Painter  of  por- 
traits, landscapes  and  still  life. 

Hendricks,    Bessie.     74    Woodruff    Place,    Indianapolis, 
Ind. 
P.;  D.     Born   Indianapolis.      Pupil  Steele   and   For- 
syth.    Member:  SWA;  SI  A. 

Henkel,  Anna  Vandalaine.  4606  Newberry  Terrace, 
St.  Louis,  Mo. 
P.;  T.  Born  Goshen,  Ind.  Pupil  John  Stich;  Pratt 
Inst,  under  Otto  W.  Beck  and  Paul  Moschcowitz  at 
Ogunquit,  Me.,  and  Charles  Woodbury;  studied  Eu- 
ropean galleries.  Member;  St.  Louis  Artists'  Guild; 
St.  Louis  Art  League;  Western  Drawing  and  M.  T. 
Association;  instructor  Harris  Teachers'  College 
since  1905. 

Henshaw,  Glen   C.     2257  West   12th   St.,   Chicago,   111. 
P.     Born   Windfall,   Ind.      Pupil  of   HAI;    Munich; 
Delecluse  and  Julien  Academy;  Ecole  des   Beaux- 
Arts  in  Paris.      Represented:   Tipton  Library  and 
Anderson,  Ind.,  Art  Asso. 

Herold,  Don.     Indianapolis,  Ind. 

/.     Born  Bloomfield,  Ind.,  July  9,  1889.    Pupil  HAI; 
AIC;  Indiana  University  A.  B. 

Herold,  Katharine  Porter  Brown  (Mrs.  Don  Herold). 
Indianapolis,  Ind. 
P.;  T,  Born  Indianapolis,  Ind.,  July  3,  1893.  Pupil 
Teachers'  College,  Indianapolis,  and  Columbia  Univ., 
and  Arthur  W.  Dow.  Illustrated  "Costume  De- 
sign and  Home  Planning"  by  Estelle  Peel  Izor. 

Herrick,  Hugh  M.     Indianapolis,  Ind. 

P.     Born  Rocky  Ford,  Col.     Pupil  HAI  under  For- 
syth and  Wheeler. 

HiBBEN,  Helens.  54}SS  University  Ave.,  Indianapolis, 
Ind. 
S.  Born  Indianapolis,  Nov.  18,  1882.  Pupil  For- 
syth at  HAI;  Lorado  Taft  at  AIC;  James  Earle 
Eraser  at  ASL  of  N.  Y.  Member:  NSS.  Repre- 
sented: portrait  bronze  of  James  Whitcomb  Riley, 
HAI;  portrait  bronze  of  James  Whitcomb  Riley, 
Library  of  Congress,  Washington,  D.  C. ;  "Thomas 
R.  Marshall,"  Library  of  Congress,  Washington, 
D.  C. ;  bronze  name  tablet  Burdsal  Unit,  City  Hos- 
pital, Indianapolis. 

375 


ART  AND  ARTISTS  OF  INDIANA 

*HiBBEN,  Thomas  E. 

E.  Born  Rushville,  Ind.,  Oct.  22,  I860;  died  New 
York,  July  6,  1915.  Lived  in  Indianapolis  since 
1864.  Pupil  of  Love  and  Gookins  in  Indiana  School 
of  Art.'  He  was  the  first  artist  on  the  Indianapolis 
News.  He  was  an  art  patron  and  collector  of 
paintings  and  etchings. 

HiGGiNs,  W.  Victor,  1700  Auditorium  Tower,  Chicago. 
111.  Summer,  Taos,  N.  M. 
P.;  I,  Born  Shelbyville,  Ind.,  June  28,  1884.  Pupil 
AIC  and  Academy  Fine  Arts,  Chicago;  Rene  Menard 
and  Lucien  Simon  in  Paris;  Hans  von  Hyeck  in 
Munich.  Member:  Chicago  SA;  PCC;  Am.  SA  in 
Munich;  Chicago  Commission  for  Encouragement 
of  Local  Art;  Taos  Society  of  Artists.  Awards: 
gold  medal  PCC  1914;  Municipal  Art  League  pur- 
chase prize  1915;  Cahn  prize  AIC  1915;  Butler  pur- 
chase prize  AIC  1916;  Chicago  SA  medal  1917; 
ANA.  Represented:  "Moorland  Piper,"  Terre 
Haute  Art  Asso.,  "Moorland  Gorse  and  Bracken," 
Municipal  Gallery,  Chicago;  mural  decoration, 
Englewood  Theater,  Chicago,  "Women  of  Taos," 
Santa  Fe  Railroad;  "Juanito  and  the  Suspicious 
Cat,"  Union  League  C,  Chicago;  "The  Bread-Jar," 
City  of  Chicago,  etc.  Instructor  Chicago  Academy 
of  Fine  Arts. 

*HiLL,  John  B. 

Port  P.  Born  Indianapolis,  Ind.;  died  Indianapolis, 
Nov.  19,  1874.  Pupil  Jacob  Cox  and  B.  S.  Hays 
in  Indianapolis.  Represented:  portrait  of  Gov. 
Posey,  State  Library. 

HiLLiARD,  Harry. 

Port.  P.     In  Indianapolis  in  1874. 

Holland,  Marie.     Knightstown,  Ind. 

P.     Born  Knightstown,  1890.     Pupil  HAL 

HoLLiDAY,  Robert  C.     115  N.  East  St.,  Indianapolis,  Ind. 
P.     Born  Indianapolis.     Pupil  Otto  Stark,  Indianapo- 
lis; ASL  of  N.  Y.,  and  J.  W.  Twachtman. 

Holly,  William  A.     Richmond,  Ind. 

Ldscp.  P.  Born  Cynthiana,  Ky.  Pupil  of  nature. 
Member:  RAA.    Award:  hon.  men.  RAA  1908. 

•Deceased 

376 


WHO'S  WHO  IN  ART 

HoNiG,  George  H.  704  Furniture  Bldg.,  Evansville^  Ind. 
S.J  P.  Born  Rockport,  Ind.,  Aug.  3,  1874.  Pupil 
H.  A.  MacNeil  in  sculpture;  Francis  Jones,  Doug- 
lass Volk  in  NAD;  Thomas  Fogarty  of  the  ASL 
of  N.  Y.  Awards :  bronze  medal  for  sculpture  NAD 
1914;  silver  medal  for  sculpture  NAD  1915;  first 
hon.  men.  bust  1914.  Represented:  bronze  groups 
"Spirit  of  1861"  and  "Spirit  of  I916"  on  Soldiers* 
and  Sailors'  Coliseum  Bldg.,  Evansville. 

HosFORD,  LiNDLEY.     Lyme,  Conn. 

P,  Born  Terre  Haute,  Ind.,  Aug.  19,  1877.  Pupil 
Chase  and  Du  Mond  in  New  York. 

Hubbard,  Frank  McKinney.     Indianapolis,  Ind. 

/.  Born  Bellefontaine,  O.  Cartoonist  on  Indianapo- 
lis News. 

Hughes,  Edith  R.     Ft.  Wayne,  Ind. 

P.  Born  Ft.  Wayne,  1884.  Pupil  Ft.  Wayne  Art 
School;  Museum  School  of  Fine  Arts,  Boston. 
Graduate  of  Pratt  Inst.  Herter  Looms  Studio, 
designing  cartoons  for  tapestry.  Studied  one  year 
in  Europe. 

*Hyde,  Emily  Griffin. 

P.  Born  1859  in  a  log  cabin  on  the  prairie  of  Lake 
County;  died  Spiceland,  Ind.,  Sept.  13,  1919.  Pupil 
Cin.  AA;  studied  one  summer  in  Europe. 

*Ingraham,  Mrs.  Ellen  M. 

P.  Born  New  Haven,  Conn.,  Aug.  12,  1832;  died 
Indianapolis,  June  2,  1917.  Pupil  William  Miller 
(formerly  in  Indianapolis) ;  miniature-painter  in 
New  York;  portraiture,  L.  M.  Ives  in  New  York; 
George  Flagg;  Wales  Hotchkiss  and  Charles  Hine 
of  New  Haven.  Awards:  first  hon.  men.  New  Or- 
leans Exp.  1885.  Represented:  Columbian  Exp. 
1893  by  portrait  of  Thomas  A.  Hendricks.  Came 
to  Indianapolis  in  April,  1865;  had  studio  classes 
at  265  N.  Tennessee  St. 

Ingraham,  Lena  L.     515  N.  Capitol  Ave.,  Indianapolis, 
Ind. 
T.     Born     Indianapolis.       Pupil     Ellen     Ingraham; 
Steele  and  Forsyth ;  Pratt  Inst. ;  Columbia  Univer- 
sity Art  School.     Supervisor  of  art,  former  director 

*  Deceased 

377 


ART  AND  ARTISTS  OF  INDIANA 

of  art,  Fullerton  Union  High  School  at  Fullerton, 
Cal. 

IsNOGLE,  Walter  Hixon.     Indianapolis,  Ind. 

P.  Born  Newcastle,  Ind.  Pupil  HAI  under  Forsyth 
and  Wheeler.  Represented:  murals  in  City  Hos- 
pital, Indianapolis;  murals  in  office  of  Dr.  T.  Victor 
Keene. 

IzoR,  EsTELLE  Peel.  312  East  33d  st.,  Indianapolis,  Ind. 
P.;  T.  Born  Centerville,  Wayne  Co.,  Ind.  Pupil  For- 
syth and  T.  C.  Steele,  Indianapolis;  Freer  and 
Vanderpoel,  Chicago;  S.  M.  Ketcham,  William  M. 
Chase,  Herter,  New  York  City;  H.  D.  Murphy, 
Boston;  Arthur  W.  Dow,  Columbia  Univ.;  John 
Johansen.  Member:  SWA;  teacher  of  advanced 
classes  at  M.  T.  H.  S.  Head  of  Costume  Design- 
ing and  Home  Decoration  M.  T.  H.  S.  Author: 
"Costume  Designing  and  Home  Planning." 

Jackson,    Chic.     3029     Broadway,       Indianapolis,     Ind. 
/.     Born  Muncie,  Ind.,  December  31st,  1880.    Pupil  of 
J.  Ottis  Adams;  AIC.     Cartoonist  on  Indianapolis 
Star. 

Jacoby,  Helen  Eaton.     850  East  58th  St.,  Indianapolis, 
Ind. 
E.;  I.     Born  Indianapolis.     Pupil  Otto  Stark;  Chi- 
cago Univ.;  Pratt  Inst. 

Jameson,  Samilla  Love.     1744  Broadway,  Apt.  28,  New 
York,  N.  Y. 
/.     Born  Logansport.     Studied  in  Chicago.     Illustra- 
tor for  papers  and  magazines:  illustrated  book  of 
poems  by  Mrs.  Flora  Neff. 

Johnston,  Win  ant  Pullis.     3337  Walnut  St.,  Philadel- 
phia, Pa. 
S.     Born  Indianapolis   1889.     Pupil  Charles  Grafly, 
sculptor,  and  PAFA,  Philadelphia. 

Joiner,  Harvey.     Prather,  Ind. 

P,  Born  Charlestown,  Ind.,  April  8,  1852.  Self- 
taught.     Member:  Louisville  Artists'  League. 

*JuDAH,  Harriet  Brandon. 

P.  Born  Piqua,  O.,  July  4,  1808;  died  Vincennes, 
Ind.,  June,  1884.    Moved  to  Cory  don,  Ind.,  in  1816. 

*  Deceased 

378 


WHO'S  WHO  IN  ART 

Student  of  art  in  Girls'  Boarding  School,  Cincinnati, 
O. 

Keppler,  Max. 

/.  Pupil  Swain  of  Chicago.  Lived  in  Logansport 
from  1875  to  1878.  Illustrator  for  Puck  and 
Harper's, 

Ketcham,  Roy  M.     Paoli,  Ind. 

P.;  I.  Born  Paoli,  Ind.  Pupil  HAI  under  Forsyth; 
Wheeler;  ASL  of  N.  Y.,  and  Charles  W.  Hawthorne 
Awards:  Mrs.  Harry  Payne  Whitney  mural  prize 
1915. 

Ketcham,  Susan  M.  1010  Carnegie  Hall  New  York, 
N.  Y.  Summer,  Ogunquit,  Maine. 
P.  Born  Indianapolis.  Pupil  of  Indiana  School  of 
Art  under  Love  and  Gookins;  ASL  of  N.  Y.,  under 
Chase;  Bell;  Charles  H.  Woodbury;  Walter  Shir- 
law,  and  Benjamin  R.  Fitz.  Awards:  Club  prize 
in  WPS  of  New  York;  Filing  prize;  Ruth  Payne 
Burgess  prize;  Woman's  A.  C.  1908.  Member: 
life  member  ASL  of  N.  Y. ;  Daughters  of  Indiana 
in  New  York;  Asso.  of  Women  PS;  Woman's  A.  C. 
of  New  York.  Represented:  "Beatrix"  and  "A 
Young  Student,"  HAI,  Indianapolis;  "Marine," 
Art  Asso.,  Vincennes,  Ind. 

Kidder,  Idelle.     Terre  Haute,  Ind. 

D.;  C.  Born  Quincy,  Mich.  Pupil  Boston,  Mass., 
School  Metalry  under  George  H.  Hunt;  James  H. 
Winn  in  Chicago;  Chautauqua  N.  Y.  School  of 
Design. 

King,  Emma  B.  2118  Talbott  Ave.,  Indianapolis,  Ind. 
P.  Born  Indianapolis.  Pupil  Jacob  Cox,  Indian- 
apolis Art  School;  Kenyon  Cox;  Beckwith;  Chase; 
and  ASL  of  N.  Y. ;  Boulanger;  Lefebvre;  Carolus- 
Duran  and  Frank  E.  Scott  in  Paris.  Member: 
ASL  of  N.  Y.;  Women  PS;  SWA  (Asso.).  Repre- 
sented: "Road  in  Adirondacks,"  Public  Gallery, 
Richmond,  Ind. 

King,  Myra  Parks.     Toledo,  Ohio. 

S.;  P.    Born  Martinsville,  Ind.     Pupil  HAI. 

Kirkland,  India  Underwood. 

S.;  P.  Born  Indianapolis.  Entered  the  contest  for 
the  first  Oliver  P.  Morton  statue. 

379 


ART  AND  ARTISTS  OF  INDIANA 

Knecht,  Karl  Kae.     Evansville,  Ind. 

/.     Born  Iroquois,  S.  D.,  Dec.  4,  1883.     Pupil  AIC. 
Cartoonist  on  Evansville  Courier. 
Knowlton,  Lovina.     Logansport,  Ind. 

C.     Born  Logansport.     Pupil  AIC;  former  teacher  in 
bookbinding  at  the  HAI  at  Indianapolis. 
KoHLMANN,    Rena    Tucker.     108    Wcst    57th    St.,    New 
York,  N.  Y. 
S.;  P.;  T,     Born  Indianapolis,  Nov.  29,  1880.     Pupil 
Joseph  De  Camp;  Charles  H.  Woodbury;  sculpture 
under  George  Grey  Barnard  and  Rudolph  Schwarz. 
Member:  SS  of  Ind.;  ASL  of  N.  Y.     Represented: 
"Tuttle  Memorial  Tablet,"   Teachers'   College,   In- 
dianapolis.   Art  instructor  at  Teachers'  College;  art 
critic  on  Indianapolis  News. 
KoTZ,  Daniel.     Park  Ridge,  N.  J. 

P.      Born   near   South   Bend,   Ind.,   March   21    1848. 
Pupil  Henry  F.  Spread. 
Krementz,  Joseph.     605  E.  Market  St.,  New  Albany,  Ind. 
P.     Born  Wiesbaden,  Germany.     Pupil  Karl  Mueller 
of  Wiesbaden. 
Kurtz,  Wilbur  G.     Atlanta,  Ga. 

P.;  /.      Born   Oakland,    111.,    Feb.    28,    1882.      Pupil 
De  Pauw  Univ.,  Ind.,  School  of  Art;  AIC  under 
Vanderpoel  and  Charles  F.  Brown.    Lived  for  many 
years  in  Indiana. 
Lacy,   Bertha  J.      100   Morningside  Drive,   New   York, 
N.  Y. 
P.;  T.     Born  Perryville,  Ind.,  March  6,  1878.     Pupil 
J.   Ottis  Adams;   Cin.  AA;   AIC;   SFAA  of   New 
York;   Columbia  Univ.   School  of  Art.      Instructor 
in    costume    design    in    Washington    Irving    High 
School  of  New  York  City.     Member:  Cin.  Woman's 
AC;  ASL  of  Chicago. 
Larimer,  Harry.     Ft.  Wayne,  Ind. 

Cartoonist;  I.    Staff  of  Ft.  Wayne  News. 
Larsh,  Theodora.     156  Carnegie  Hall,  New  York,  N.  Y. 

Min.  P.     Born  Crawfordsville,  Ind. 
Lauderbeck,  Walter  S.    Chicago,  111. 

/.     Born  Valparaiso,  Ind.     Pupil  AIC. 
Lauter,  Flora.     612  E.  13th  St.,  Indianapolis,  Ind. 

P.     Born  New  York,  July  21,  1874.     Pupil  Steele  and 
Forsyth;  Chase  and  Mori  in  New  York.     Member: 

380 


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WHO'S  WHO  IN  ART 

Women  PS;  A.  Fed.  A.;  AGC;  Woman's  Interna- 
tional Art  Club  of  London. 
Lawson,  Katherine  Stewart.     640  Madison  Ave.,  New 
York,  N.  Y. ;  Saugatuck,  Conn. 
S.      Born    Indianapolis.      Pupil   AIC;    ASL,   N.    Y. ; 
Lorado    Taft;    A.    H.    McNeil.      Member:    Women 
P.  S. 
LeicHj  Chester.     Evansville,  Ind. 

P.;  E.    Born  Evansville,  Jan.  31,  1889-     Pupil  Arthur 
Liebelist,   Hamburg,   and  Wilhelm  Osterle,   Berlin. 
Member:  Chicago  SA. 
*Lesueur,  Charles  Alexander. 

P,     Born  France ;  died  France.     Lived  in  New  Har- 
mony, Ind.,  from  January,  1826,  to  June  9,  1834. 
Levering,  Albert.     132  East  19th  St.,  New  York,  N.  Y. 
/.      Born  Hope,   Ind.,   1869-      Followed   architecture; 
studied  drawing  in  Munich.     On  staff  of  Puck,  Life, 
and  Harper's  WeeMy.     Member:  SI,  1912. 
LoGSDON,  Margaret.     226  E.  Vermont  St.,  Indianapolis, 
Ind. 
P.     Born  Napoleon,  Ind.,  Oct.  9,  1846.     Pupil  John 
Love  and  Susan  M.  Ketcham. 
*LovE,  John  Washington. 

P.;  T.  Born  Napoleon,  Ind.,  Aug.  10,  1850;  died 
Indianapolis,  June  24,  1880.  Pupil  B.  S.  Hays; 
Henry  Mosler;  Academy  of  Design  1871;  Gerome 
in  Paris  1872-76.  Established  Ind.  School  of  Art, 
Oct.  15  1876,  in  Indianapolis. 

LUDDINGTON,   MrS. 

Port.  P.     In  Indianapolis  during  the  eighties. 
*LuTz,  Lewis  Cass. 

P.;  T.     Born  Cambridge  City,  Ind.,  Aug.  18,  1855; 
died  Cincinnati  O.,  Nov.  4,  1893.     Pupil  Cincinnati 
School  of   Design;   studied  in   Munich   and   Paris; 
teacher  in  Cincinnati  Art  Academy. 
Lyon,  Alfred  B.     402  Sanders  St.,  Indianapolis,  Ind. 
D.;  T.    Born  Boston,  Mass.   Pupil  Boston  Art  School; 
Rafello  Raineri  of  Palermo. 
McCann,  Rebecca.     New  York,  N.  Y. 
7.     Born  Crawfordsville,  Ind, 

•Deceased 

381 


ART  AND  ARTISTS  OF  INDIANA 

*^MacClure,  Colbert  Anderson. 

Arch,  Born  Delphi,  Ind.,  March  27,  1870;  died  Pitts- 
burgh, Pa.,  April  29,  1912.  Graduate  Massachu- 
setts Institute  of  Technology  1894.  Member: 
Pittsburgh  Chapter  of  American  Institute  of  Archi- 
tects. 

MacGinnis,  Henry  R.  1115  W.  State  St.,  Trenton,  N.  J. 
P.;  T.  Born  Morgan  Co.,  Ind.,  Sept.  25,  1875.  Pupil 
Adams,  Steele,  and  Forsyth;  Munich  under  Wein- 
holdt;  Carl  Marr  and  Herman  Obrist;  Collin  and 
Courtois  in  Paris.  Award:  hon.  men.  Royal  Acad- 
emy in  Munich;  teacher  in  Trenton  School  of  In- 
dustrial Arts. 

McCoRMicK,  Howard.     Leonia,  New  Jersey. 

I.;  Mural  P.  Born  Indiana.  Pupil  Forsyth,  Indian- 
apolis; Chase  School,  New  York;  studied  in  Paris. 
Member:  SI  1911;  Salma  C.  1907.  Award:  Indian- 
apolis Art  Asso.  prize  1918.  Represented:  HAI 
"The  Hopi  World." 

McCuTCHEON,  John  T.  1018  Fine  Arts  Bldg.,  Chicago, 
111. 
7.  Born  South  Raub,  Ind.,  May  6,  1870.  Pupil 
Ernest  Knaufft,  New  York.  Member:  S.  I.  1911; 
caricaturist  on  Chicago  Tribune  since  1903;  corre- 
spondent during  Spanish  War. 

•^McDonald,  Mary. 

P.;  I.  Born  Pennsylvania;  removed  to  Camden,  Ind.,. 
at  an  early  age.  Lived  in  Logansport  1883  to  1896, 
where  she  taught  art.  Pupil  of  Pennsylvania  Acad- 
emy of  Fine  Arts.  Illustrator  for  Harper's,  Les- 
lie's, and  James  Whitcomb  Riley's  poems. 

McMillan,  Mrs.  Laura  L.     Kokomo,  Ind. 

P.  Born  Belmont,  New  York.  Pupil  HAI  and  Emma 
King.     Represented:  Tipton  Library. 

*Mahoney,  John  H. 

S.  Born  Usk,  Wales,  June  24,  1855;  died  Indian- 
apolis, Ind.,  Sept.  13,  1919-  Pupil  English  Acad- 
emy in  Rome  under  Randolph  Rogers.  Rppre- 
sented:  bronze  statues  of  George  Rogers  Clark, 
William  Henry  Harrison,  and  Gov.  James  Whit- 
comb in  Monument  Place,  Indianapolis;  William  E. 

*  Deceased 

382 


WHO'S  WHO  IN  ART 

English  in  Englishton  Park;  Henry  Berg,  Mil- 
waukee; Gen.  Soloman  Meredith  (marble),  Cam- 
bridge City;   Morton   McMichael,  Philadelphia. 

Makielski,  Leon  A.     South  Bend,  Ind. 

Port.  P.  Born  Morris  Run,  Pa.,  May  17,  1885.  Pupil 
Ralph  Clarkson ;  Vanderpoel ;  Chicago  Art  Institute ; 
Julien  Academy;  Henri  Martin;  Grande  Chaumiere 
Academy  under  Lucien  Simon  and  Rene  Menard; 
Instructor  in  Art  Michigan  Univ.,  Ann  Arbor. 
Awards:  Detroit  Museum  of  Art  second  prize  1917. 

Many,  Alexis  B.    Glen  Echo,  Md. 

P.  Born  Indianapolis,  Ind.  Pupil  Otto  Stavk  and 
HAI. 

Matzke,  Albert.     424  West  52d  St.,  New  York,  N.  Y.; 
summer,  Norwalk,  Conn. 
P.;  /.     Born  Indianapolis,  Aug.  8,  1882.     Pupil  R.  B. 
Gruelle;  Otto  Stark;  ASL  of  N.  Y.  under  Du  Mond 
and  George  Bridgeman. 

*Meredith,  Captain  W.  M. 

Born  Indiana;  died  Washington,  D.  C,  Dec.  24, 
1917.  Director  Bureau  of  Engraving  and  Printing 
during  Harrison  and  McKinley  administrations; 
later  of  the  Treasury  Department. 

Meyenberg,  John  C.  127  East  3d  St.,  Cincinnati.  Sum- 
mer, Tell  City,  Ind. 
S.;  C.  Born  Tell  City,  Feb.  4,  I860.  Pupil  of  Cin. 
AA  under  Thomas  S.  Noble;  Beaux- Arts  in  Paris 
under  Jules  Thomas.  Member:  Cin.  AC.  Repre- 
sented: "Egbert  Memorial,"  Fort  Thomas,  Ky. ; 
"Pediment,"  Carnegie  Library,  Covington  (Ky.) ; 
"Aunt  Lou  Memorial,"  Linden  Grove  Cemetery; 
"Theo.  E.  Hallam  bust,"  Court-House,  Covington; 
"Nancy  Hanks,"  Lincoln  Park  entrance.  State  of 
Indiana;  "Ben  Pitman  Memorial,"  Cincinnati  Pub- 
lic Library. 

Miller,  Gustav.     527  Line  St.,  Evansville,  Ind. 

P.;  D.  Born  Rugersdorf,  Prussia,  Feb.  11,  1851. 
Pupil  Chicago  Academy  of  Fine  Arts.  Specialty, 
scenic  work. 

Miller,  John  R.     617  East  25th  St.,  Indianapolis,  Ind. 
P.     Born  Hamilton,  Ohio.     Pupil  William  Forsyth. 


383 


ART  AND  ARTISTS  OF  INDIANA 

MiLLEsoN,  HoLLis  E.     Shclbyville,  Ind. 

P,  Born  Shelbyville,  Ind.  Pupil  AIC;  Boston  Art 
Museum;  Weitkamp  of  Amsterdam,  Holland;  Den- 
man  Ross.  Member:  Museum  of  French  Art,  New 
York. 

*MlLLIKAN,    RhODA    HoUGHTON. 

P.;  T.     Born  Marlboro,  Vt.,  Dec.  1838;  died  Indian- 
apolis,   Oct.    2,    1903.      Taught    in    Picqua    Union 
Schools  and  Greenfield,  Ind. 
MiLLiKEN,  Mary  A.   Bybee    (Mrs.  Walter  E.   Milliken). 
1470  N.  Penn.  St.,  Indianapolis,  Ind. 
P.     Born  Tennessee.     Pupil  D.  W.  Tryon. 
MiLROY,  Henry  C.    Delphi,  Ind. 

S,     Born  Delphi.     Member:  SS  of  Ind. 
Morgan,  Lynn.     Indianapolis,  Ind.;   147  West  71st  St., 
New  York,  N.  Y. 
P.    Born  Richmond,  Ind.,  April  24,  1889.    Pupil  HAI 
under  Forsyth  and  Wheeler. 
MoRLAN,  Dorothy.     6030  Lowell  Ave.,  Indianapolis,  Ind. 
P.     Born  Irvington,  Ind.     Pupil  Forsyth  and  Stark, 
HAI,  Indianapolis;  PAFA,  and  Henri.       Awards: 
hon.  men.  Richmond,  Ind.,   1908.     Member:  SWA 
(Asso.). 
Morris,  Elwood.    Richmond,  Ind. 

Ldscp.  P.     Born  Richmond.     Self-taught.     Member: 
Richmond    Art    Association;    Richmond    Group    of 
Artists. 
*MoRRisoN,  George  M. 

Port.  P.     Born  Maryland,  Md.,  1820;  died  New  Al- 
bany, Ind.,  1893.     Painted  portrait  of  Gov.  Ashbel 
P.  Willardin  1857. 
*MoTE,  Alden. 

Ldscp,  P.  Born  West  Milton,  Ohio,  Aug.  27,  1840; 
died  Jan.  13,  1917,  Richmond,  Ind.,  where  he 
resided  for  thirty  years.  Pupil  Marcus  Mote,  W.  H. 
Hilliard,  and  B.  S.  Hays.  Member:  Art  Institute 
of  Philadelphia,  Art  Assn.  of  Richmond,  Ind. 
Represented:  portrait  of  Daniel  Reid,  Memorial 
Hospital,  Richmond,  Ind.;  portraits  in  Earlham 
College,  Penn  College,  Oskaloosa,  Iowa. 

*  Deceased 

384 


A  BROWN  COUNTY  MOTHER 


ADA  WALTER   SHULZ 


OWNED    BY    JUDGE     ALEX.     SIMPSON,    JR.,     PHILADELPHIA.      BOUGHT     FOR    A 
COLLECTIOK   TO  BE    PRESENTED   TO   CITY  OF  PHILADELPHIA 


WHO'S  WHO  IN  ART 

*MoTE,  Marcus. 

P.;  I.;  T.  Born  West  Milton,  Ohio,  1817;  died  Rich- 
mond, Ind.  Represented:  "Indiana  Yearly  Meet- 
ing" Earlham  College.  He  maintained  an  art-school 
in  Richmond  for  some  years.  During  the  time  he 
had  541  pupils.  He  made  Sunday  School  and  Bible 
illustrations. 

Mueller,  Louis  F.  918  East  10th  St.,  Indianapolis,  Ind. 
P.  Born  Indianapolis.  Pupil  Royal  Academy,  Mun- 
ich, under  Heineriet;  Hugo  von  Habermonn;  Carl 
von  Marr;  Herman  Grober,  and  others;  Aman- 
Jean  and  Lucien  Simon  in  Paris.  Awards:  Royal 
Academy  cast  prize. 

Neubacher,  Margaret  Steele.  3254  Bellefontaine  St., 
Indianapolis,  Ind. 
D.  Born  Battle  Creek,  Mich.  Pupil  T.  C.  Steele 
and  Brandt  Steele.  Designer  of  book  plates,  title- 
pages,  etc.  Awards:  first  prize  for  design  for  mem- 
bership certificate  AAI ;  prize  for  seal  for  Arts  and 
Crafts  Society  of  Indianapolis. 

Newman,  Anna  M.  2533  Maple  Place,  Ft.  Wayne,  Ind. 
P.;  I.;  T.  Born  Richmond.  Pupil  Ralph  Clarkson; 
John  Vanderpoel;  C.  F.  Browne  at  AIC;  John  E. 
Bundy.  Awards:  hon.  men.  AIC  1905;  hon.  men. 
Richmond  1906  to  1912,  inclusive.  Member:  Chi- 
cago ASL;  RAA. 

Nicholson,  Elizabeth.  1233  Broadway,  Indianapolis,  Ind. 
Ldscp.  P.;  Port.  P.     Born  Clinton  County,  O.     Pupil 
McMickin  Institute  under  Thos.  Noble ;  Henry  Mos- 
ler;  M.  Reve  of  Paris. 

*NiCKUM,  Chas.  N. 

P.  Born  Dayton,  O.,  Feb.  12,  1844;  died  Indian- 
apolis, Oct.  2,  1913.  Painted  portrait  of  Abraham 
Lincoln. 

NiEMEYER,  John  Henry.  251  Lawrence  St.,  New  Haven, 
Conn. 
P.;  T.j  L.  Born  Bremen,  Germany,  June  25,  1839^ 
Came  to  U.  S.  in  1843;  lived  in  Indianapolis.  Pupil 
Jacob  Cox,  Gerome,  and  Yvon  at  Ecole  des  Beaux- 
Arts,  and  of  Jacquesson  de  la  Chevreuse  and  Cornu 
in  Paris.     Member:  SAA  1882;  ANA  1906;  Paris 


385 


ART  AND  ARTISTS  OF  INDIANA 

AAA;   Conn.   AFA.      Award:   hon.    men.    Pan- Am. 
Exp.  Buffalo  1901. 

NoRDYKE,  M.  T.     Richmond,  Ind. 

Ldscp.  P.  Born  Wayne  Co.,  Ind.  Pupil  McMicken 
S.  of  D.  Studied  with  Duveneck  and  Forney.  Mem- 
ber; RAA.  Represented:  Ind.  Bldg.  St.  Louis  Exp. 
1904.     Awards:  hon.  men.  RAA  1912. 

OvERBECK,  Elizabeth.     Cambridge  City,  Ind. 

Potter.  Born  Cambridge  City.  Pupil  Charles  F. 
Binns,  New  York  School  of  Clay-Working  and 
Ceramics,  Alfred,  N.  Y.  Member:  (Asso.)  Ameri- 
can Ceramics  Society;  Overbeck  Pottery,  established 
1911.  Exhibited  at  Richmond,  Ind.;  General  Fed. 
of  Women's  Clubs;  Chicago  Arts  and  Crafts;  Balti- 
more Arts  and  Crafts;  P.-P.  Exp.  1915. 

Overbeck,  Hannah  B.     Cambridge  City,  Ind. 

D.;  Potter.  Born  Cambridge  City.  Member:  Cin. 
Woman's  A.  C.  Contributor  to  Keramic  Studio, 
Syracuse,  N.  Y. 

Overbeck,  Mary  Frances.     Cambridge  City,  Ind. 

P.;  D.  Born  Cambridge  City.  Pupil  Arthur  W.  Dow, 
Columbia  Univ.,  N.  Y.,  and  Margaret  Overbeck. 
Member:  Cin.  Woman's  AC.  Contributor  to  Kera- 
mic Studio. 

*OvERBECK,  Margaret. 

P.;  D.j  T.  Born  Cambridge  City,  Ind;  died  Cam- 
bridge City,  Aug.  13,  1911.  Pupil  Cin.  AA;  under 
L.  H.  Meakin;  J.  H.  Sharp;  L.  C.  Lutz;  Vincent 
Nowottny;  Otto  W.  Beck;  studied  design  under 
Arthur  W.  Dow,  Columbia  Univ.,  N.  Y.  Member: 
Art  Faculty  De  Pauw  Univ.,  Greencastle,  Ind.  (The 
Department  of  Art  in  De  Pauw  was  discontinued  in 
1913.)     Member:  Cin.  Woman's  AC. 

Oliver,  Fred  Carl.     Martinsville,  Ind. 

P.  Born  Newark,  Ind.  Pupil  HAI  under  J.  Ottis 
Adams  and  William  Forsyth. 

Peake,  Harvey.     New  Albany,  Ind. 

P.;  /.  and  Poet.  Born  New  Albany,  Ind.  Pupil  Carl 
Brenner. 

Pentzer,  Orrin  Wesley.     Columbus,  Ind. 

P.;  T.     Born  Rensselaer,  Ind.,  Oct.  8,  1851.     Pupil 

*  Deceased 

386 


WHO'S  WHO  IN  ART 

George  Winter  at  Lafayette;  AIC  under  Vander- 
poel;  ASL  of  N.  Y.  under  Thomas  W.  Dewing; 
William  M.  Chase;  supervisor  of  drawing  in  public 
schools  of  Columbus,  Ind.,  since  1913. 

PeckhaMj  Louis. 

Port.  P.  In  Vincennes,  Ind.,  1810.  Painted  portrait 
of  Gen.  Hyacinth  Lasselle  in  State  Library,  also 
portrait  of  Gen.  Lasselle  and  wife,  owned  by  Wils 
Berry,  Logansport,  Ind. 

Perkins,  Lucy  Fitch  (Mrs.  Dwight  H.  Perkins).  2319 
Lincoln  St.,  Evanston,  111. 
/.;  T.  Born  Maples,  Ind.,  July  12,  1865.  Pupil 
Boston  Museum  School  under  Otto  Grundmann, 
Frederick  Crowninshield,  and  Robert  Vennoh.  Mem- 
ber: Chicago  Woman's  Club;  Chicago  SA.  Author: 
"A  Book  of  Joys,"  "The  Goose  Girl,"  "The  Dutch 
Twins,"  "Dandelion  Classics." 

Pink,  William  G.     Norris  City,  111. 

P.  Born  Rising  Sun,  Ind.  Pupil  Joiner;  Hamel  and 
Linsey  in  Cincinnati. 

Plaschke,  Paul  A.     317  W.  Walnut  St.,  Louisville,  Ky. 
Home  New  Albany,  Ind. 
P.;  I.     Born  Berlin,  Germany,  Feb.   2,  1880.     Self- 
taught. 

PoLLEY,  Frederick.     371   S.  Emerson  Ave.,  Indianapolis. 
Ind. 
P.;  I.     Born  Union  City,  Ind.,  Aug.  15,  1875.     Pupil 
HAI;  Corcoran  Art  School,  Washington,  D.  C. 

*Powers,  Hiram. 

S.  Born  Woodstock,  Vt.,  July  29,  1805;  died  Flor- 
ence, Italy,  June  27,  1873.  Lived  in  Brookville, 
Ind.,  during  his  youth  and  early  manhood.  Repre- 
sented: "Greek  Slave,"  Corcoran  Art  Gallery,  Wash- 
ington, D.  C. 

Prasuhn,  John  G.  1308  Hiatt  St.,  Indianapolis,  Ind. 
S.  Born  Versailles,  O.,  Dec.  25,  1877.  Pupil  Chicago 
Art  Institute  under  Lorado  Taft  and  Charles  J. 
Mulligan.  Member:  Chicago  Civic  Club;  SS  of 
Indiana.  Represented:  "Classic  Music  of  Time," 
"Music  Group  on  Pavilion,"  in  Lincoln  Park,  Chi- 


Deceased 

387 


ART  AND  ARTISTS  OF  INDIANA 

cago;  "Lions,"  on  the  Taft  Columbus  Memorial 
Monument^  Washington,  D.  C. 

Pearce,  Fred  E.    Williamsburg,  Ind. 

P.  Born  Williamsburg,  Ind.  Pupil  ASL  of  N.  Y.; 
Rhoda  Holmes  Nichols. 

Preston,  Mrs.  N.  A.    Avilla,  Ind. 
P.     Studied  in  Philadelphia. 

*PuLLMAN,  Margaret  McDonald. 

P.  Born  in  Pennsylvania,  moved  to  Camden,  Ind., 
when  a  child;  reared  and  educated  in  Logansport. 
Pupil  PAFA,  Philadelphia.  Author:  "Days  Serene" 
and  "Sommerland,"  with  her  own  illustrations.  Was 
an  early  president  of  Chicago  Art  Club.  Repre- 
sented: "Homeward,"  HAI,  Indianapolis. 

Randall,  D.  Ernest.  1736  Union  St.,  San  Francisco, 
Cal. 
P.;  /.  Born  Rush  County,  Ind.,  June  20,  1877.  Pupil 
AIC  under  Vanderpoel  and  Hubble.  Member:  ASL 
of  Chicago;  Art  Workers'  Guild  of  St.  Paul;  Min- 
nesota State  Art  Association. 

Randall,  Paul.     Pupil  HAI. 

Reed,  Louis  Henrl 

Made  a  death-mask  of  Abraham  Lincoln,  when  he 
lay  in  state  at  the  Capitol,  April,  1865.  Repre- 
sented: Medallion  bas-relief  of  Lincoln,  State 
Library.  Reed  was  a  nephew  of  B.  K.  Foster,  State 
Librarian  at  that  time. 

*Reed,  Peter  Fishe. 

P.;  Poet.  Born  Boston,  Mass.,  May  5,  1817; 
died  Burlington,  Iowa,  1887.  Lived  in  Indian- 
apolis from  1850-1863. 

Reeves,  Maude  Cooper  (Mrs.  Charles  A.  Reeves).     Co- 
lumbus, Ind. 
P.      Born    Columbus,    1873.      Pupil    HAI    under    J. 
Ottis  Adams. 

Reiffel,  Charles.     Silvermine,  Norwalk,  Conn. 

Ldscp.  P.  Born  Indianapolis,  1862.  Self-taught. 
Award:  fellowship  prize  Buffalo  SA  1908.  Mem- 
ber: Silvermine  Art  Club.  Represented:  "Railway 
Yards — Winter  Evening,"  Corcoran  Gallery,  Wash- 
ington, D.  C.  Awards:  Norman  Wait-Harris  silver 
medal  and  prize  Chicago,  1917. 
*  Deceased 

388 


WHO'S  WHO  IN  ART 

Reser^  Edward  Newton.  171  S.  Oxford  St.,  Brooklyiij 
N.  Y. 
P.;  T.  Born  Lafayette,  Ind.  Pupil  Purdue  Univ.; 
Prang  Normal  Art  Course,  Boston,  Mass.;  Pratt 
Inst.,  Brooklyn,  N.  Y. ;  Julien  Academy  under  Jean 
Paul  Laurens  and  Benjamin  Constant  in  Paris. 

Rich,  George.    Art  Institute,  Chicago,  111. 

Port.  P.;  Ldscp.  P.  Born  Connersville,  Ind.,  Nov.  14, 
1891.  Pupil  AIC  and  Harry  Mills  Walcott.  Mem- 
ber: Independent  Society  of  Artists,  Chicago. 
Awards:  John  Quincy  Adams  Foreign  Scholarship 
1914  from  the  AIC. 

Richards. 

P.  Itinerant  portrait-painter  in  the  settlements  on  the 
Wabash  River,  about  1850-60. 

Richards,  Louis.     Columbus,  Ind. 

P.  Cartoonist  for  the  Evening  Republican.  Born 
Bardstown,  Ky.,  1885. 

Richards,  Myra  R.    Indianapolis,  Ind. 

S.j  T.  Born  Indianapolis,  Jan.  31,  1882.  Pupil  HAI 
under  Mary  Y.  Robinson,  Roda  Selleck,  and  Otto 
Stark;  J.  Ottis  Adams;  Forsyth;  Wheeler;  Ru- 
dolph Schwarz,  George  Julian  Zolnay.  Member: 
Ind.  SS.  Represented:  bust  of  John  S.  Duncan, 
Law  Library,  Court-House,  Indianapolis;  statute 
James  Whitcomb  Riley,  Greenfield,  Ind. 

*Richards,  Samuel. 

P.  Born  Spencer,  Ind.,  April  22,  1853;  died  Denver, 
Col.,  Nov.  30,  1893.  Pupil  Theodore  Leitz,  Indian- 
apolis; Royal  Academy  under  Straehuber;  Benczur; 
Gysis;  and  von  Loefftz.  Awards:  hon.  men.  and 
two  medals.  Represented:  "Evangeline,"  Detroit 
Museum;  "Hour  of  Prayer,"  Metropolitan  Museum, 
New  York;  "John  Addington  Symonds,"  HAI; 
"Study  Head  of  a  Peasant,"  NAD,  New  York; 
"Peasant  Stories,"  Senator  McPherson,  New  Jer- 
sey; "Blissful  Hours,"  David  Gephardt,  Dayton, 
O.;  "At  the  Spinning- Wheel,"  Mr.  Blue,  Columbus, 
O. ;  "Little  Italian  Singing  Boy,"  Miss  Margaret 
Hamilton,  Ft.  Wayne,  Ind.;  "Day  Before  the  Wed- 
ding," Mrs.  Agnes  Piatt,  Washington,  D.  C. 

*  Deceased 

389 


ART  AND  ARTISTS  OF  INDIANA 

*RiESS,  WiLHELM  J.  Came  to  Indianapolis,  Ind.,  in  1884. 
Painted  Western  scenes  and  Indian  life. 
Ldscp.  P.  Born  1856,  Berlin,  Germany;  died 
March  30,  1919-  Pupil  Berlin  Art  Academy  and 
Anton  von  Werner.  Awards:  silver  medal  on 
collection  of  paintings  P-P.  Exp.  1915;  gold  medal 
on  single  painting  "Mt.  Tacoma,"  P-P.  Exp.  1915. 
Represented:  "Wyom,ing  Desert,"  HAI,  Indian- 
apolis. Editor  German  Z)a%  Telegraph,  19OI-I9O6. 
Edited  and  published  People's  Post,  1913-1916. 
Ex-president  St.  Louis,  Mo.,  Art  Association. 

Robinson,  Mary  Y.    Culver,  Ind. 

P.;  I.  Born  Milwaukee,  Wis.  Pupil  Ind.  Art  School 
under  T.  C.  Steele;  ASL  of  N.  Y.;  also  of  Chase, 
Kenyon  Cox,  Sue  Ketcham,  and  Rhoda  Nichols. 

Rogers,  Bruce.     Cambridge,  England. 

/.  Born  Lafayette,  Ind.  Member:  Club  of  Odd  Vol- 
umes, Boston.  Award:  grand  prize  in  Industrial 
Arts  at  St.  Louis  Exp.  1904.  For  many  years  with 
the  Riverside  Press,  Cambridge,  Mass.;  Jan.  1918, 
became  director  of  University  Press  of  Cambridge, 
England. 

Root,  Nellie.    Montpelier,  Ind. 

P.;  T,  Pupil  in  Art  Dept.,  State  Normal,  under  Tur- 
man. 

Ross,  Frederick  Webb.  19  East  14th  St.,  New  York, 
N.  Y. 
P.  Born  Shelby ville,  Ind.,  March  19,  1885.  Pupil 
Forsyth;  ASL  of  N.  Y.;  Academic  de  la  Grande 
Chaumiere;  La  Grande  Colorossi  and  Acadamie 
Julien      Academy;       Robert-Fleury,       Bouguereau. 

Rothlisberger,  Jacob.    514  University  Ave.,  Muncie,  Ind. 
P. 

Rowley,  Fayette. 

Port.  P.     In  Indianapolis  in  1875. 

Ruby,  Edna  Browning.    Lafayette,  Ind. 

D.;  T.  Born  Lafayette.  Pupil  AIC;  PAIA;  ASL 
of  N.  Y.;  PAFA.  Member:  Associated  and  Public 
Designers  of  London,  Paris,  New  York,  and  Phila- 
delphia; AWCS  of  New  York;  Arts  and  Crafts 
Club  of  Chicago  and  New  York;  WAC  of  Chicago; 

♦'Deceased 

390 


WHO'S  WHO  IN  ART 

Art  Asso.  of  Lafayette.  Awards:  Century  cash 
prize  1900  Book  Covers;  Brainard  and  Armstrong 
cash  mention,  19OO;  book  covers.  New  London, 
Conn.;  medal  and  mention,  1901-1902,  silk  design, 
Art  Asso.  of  New  York;  medal  Paris  Exp.  19OO; 
hon.  men.  Buffalo  Exp.  1900,  Industrial  Exhibit; 
first  cash  award  Carnegie  Institute  1901,  water- 
color;  first  mention  New  York  Water-Color  Society 
1901-1902;  gold  medal,  first  mention.  Associated 
Designers  of  London,  England,  1904;  silk  design 
and  silk  woven  from  it,  made  by  Lyons  Silk  Firm, 
France;  hon.  men.  on  paper;  "Textile  Design" 
and  its  manufacture;  1905  Associated  Designers  of 
London,  England;  Charles  Godfrey  Leland  Scholar- 
ship 1909;  Philadelphia  School  of  Industrial  Art; 
first  cash  prize  and  mention  Textile  Exhibit,  Chicago 
Art  Institute  1909;  Textile  Exhibit,  New  York  Arts 
and  Crafts  Club  1909-10;  silver  medal  P.-P.  Exp. 
1915.  Represented:  Museum  of  Industrial  Art, 
Philadelphia;  PAFA;  Carnegie  Institute,  Pitts- 
burgh; Corcoran  Gallery,  Washington,  D.  C;  Chi- 
cago Art  Institute;  St.  Louis  Museum;  Applied  Art 
Club  and  Cooper  Union,  New  York;  United  Arts 
Club,  London,  England. 

RuDisiLL,  Margaret.  1443  Park  Ave.,  Indianapolis,  Ind. 
Ldscp.j  Figure  P.  Born  Montgomery  County,  Ind. 
Pupil  Jacob  Cox;  H.  Thompson;  Alfred  Steven; 
Julien  Academy;  Robert-Fleury,  Bouguereau. 
Awards:  silver  medal  Indiana  State  Fair.  Exhib- 
ited: Paris  Salon,  Chicago  and  St.  Louis  Expositions. 

Rush,  Olive.    7  East  Market  St.,  Indianapolis,  Ind. 

P.;  I.  Born  Fairmont,  Ind.  Pupil  ASL  under 
Twachtman  and  Mowbray;  Howard  Pyle  at  Wil- 
mington; Richard  Miller  in  Paris.  Awards:  hon. 
men.  Richmond,  Ind.,  1912;  third  prize,  Kellogg 
Competition,  1913;  Boston  Museum  prize,  1913; 
Foulke  prize  1919;  Indianapolis  Art  Association 
prize  1919.  Member:  New  York  Water-Color  Club; 
Women  PS;  Philadelphia  Plastic  Club.  Repre- 
sented: "The  Gospel"  altar  panels,  St.  Andrew's 
church,  Wilmington,  Del. ;  "On  the  Balcony,"  HAI ; 
illustrations  in  Scribner*s,  etc.  Cover  designs  for 
Woman's  Home   Companion   and   other   magazines. 

391 


ART  AND  ARTISTS  OF  INDIANA 

Russell,  James  L.     New  Albany,  Ind. 

P.     Born  New  Albany,  Oct.  10,  1872, 

Sangernebo,  Alexander.  2272  Adams  St.,  Indianapolis, 
Ind. 
Arch.;  S.  Born  Livonia,  Russia,  May  1,  1856.  Edu- 
cated University,  Dorpat,  Livonia;  School  Imperial 
Ermitage,  St.  Petersburg;  School  of  Industrial  Art, 
Hamburg;  Ecole  des  Arts  Decoratifs  Paris. 

Sangernebo,  Mrs.  Emma.     2272  Adams  St.,  Indianapolis, 
Ind. 
P.      Born   Pittsburgh,   Pa.      Pupil   William   Forsyth. 
Specialty,  children's  portraits. 

^Saunders,  Henry  R. 

Arch.;  S.  Born  London,  England,  July  25,  1847; 
died  Indianapolis,  Ind.,  Aug.  25,  1913.  Pupil  Royal 
Academy;  also  studied  under  Jackson  in  Lon- 
don and  Munroe  in  France.  Member:  Royal  Acad- 
emy. Represented:  Prince  Albert's  Memorial; 
Exeter  Cathedral,  London;  Portrait  Medallions, 
English  Hotel,  Indianapolis;  Altar  St.  Mary's  of 
the  Woods,  Terre  Haute,  Ind. 

Savage,  Eugene.  116  East  66th  St.,  New  York,  N.  Y. 
P.  Born  Covington,  Ind.,  March  29,  1883.  Pupil 
Corcoran  Art  School;  AIC  and  Fine  Arts  Academy 
of  Chicago ;  studied  under  Reynolds ;  Walcott ;  Groe- 
ber;  Isengroeber;  and  Venturini.  Member:  Am. 
Mural  P.;  PCC;  Arch.  S  of  N.  Y.  Awards:  Fellow 
in  painting  American  Academy  in  Rome  1912  on 
painting  entitled  "Morning";  collaborated  prize  for 
1915  Am.  Inst,  of  Arch. 

*ScHWARz,  Rudolph. 

S.  Born  Vienna,  June,  1866;  died  Indianapolis,  Ind., 
April  14,  1912.  Pupil  Imperial  Academy  of  Arts, 
Vienna;  teacher  at  HAI,  Indianapolis.  Repre- 
sented: Groups  of  sculpture.  Soldiers'  and  Sailors' 
Monument,  Indianapolis;  statue  of  Gov.  H.  S.  Pin- 
gree  at  Detroit,  Mich.;  also  in  the  decorations  at 
St.  Louis  Exp.  1904. 

Scott,  Frank  Edwin.     Greville  par  Beaumont-la-Hague 
Manche,  France. 
P.    Born  Buffalo,  N.  Y.,  1865.    Lived  in  Indianapolis 

until    he    went    abroad.     Pupil    ASL    of    N.    Y.; 

*  Deceased 

392 


WHO'S  WHO  IN  ART 

Beckwith;  Ecole  des  Beaux-Arts;  Cabanel.  Mem- 
ber: Societe  Nationale  des  Beaux-Arts  de  Paris. 
Awards:  medal  1894,  Universal  Exp.  Antwerp; 
Salon:  "Return  of  Fishing-Boats,"  1888;  "Public 
Square  in  Venice/'  1889;  "The  Peasant  Family," 
1892;  "The  Reading  Lesson,"  1893;  "The  Orchard 
in  Brittany,"  1899;  "View  in  Paris,"  1905;  Societe 
Nationale,  "Marche  aux  Pommes"  and  "Place  Saint 
Medard,"  1906;  "Madeline,"  "Le  Pont  Royal,"  and 
"The  Cobs,"  1911;  "A  Corner  of  Rue  Saint 
Honore,"  1912.  Represented:  "The  Reading  Les- 
son," HAI;  collection  of  Devillez. 

Scott,  William.     Indianapolis,  Ind. 

P,  Born  Indianapolis.  Pupil  Otto  Stark;  HAI;  AIC; 
and  H.  O.  Tanner,  Etaples,  France.  Awards :  Tan- 
quary  prize.  Represented:  "Rainy  Night,  Etaples," 
HAI,  Indianapolis;  murals  City  Hospital  and  In- 
dianapolis public  schools. 

ScuDDER,  Janet.  46  Washington  Mews,  New  York,  N.  Y. 
S.  Born  Terre  Haute,  Ind.,  Oct.  27,  1873.  Pupil  at 
Cin.  AA;  Taft  in  Chicago;  Macmonnies  in  Paris. 
Awards:  medal  Columbian  Exp.  Chicago  1893; 
hon.  men.  Sun  Dial  competition.  New  York  1898; 
bronze  medal  St.  Louis  Exp.  1904;  hon.  men.  Paris 
Salon,  1911 ;  sculpture  prize  Women  PS  1914; 
silver  medal  P-P  Exp.  1915.  Member:  NSS; 
NAC;  Women  PS;  SS  of  Ind.  Represented: 
seal  for  the  Asso.  of  the  Bar  of  the  City  of  New 
York;  "Japanese  Art,"  fa9ade  of  Brooklyn  Art  In- 
stitute; "Frog  Fountain,"  Metropolitan  Museum, 
N.  Y. ;  "Fighting  Boy  Fountain,"  Art  Institute, 
Chicago,  111.;  "Tortoise  Fountain,"  Art  Gallery, 
Richmond,  Ind.;  three  medals  in  gold  and  three  in 
silver,  HAI,  Indianapolis,  Ind.;  portrait  medallions 
in  Congressional  Library,  Washington,  D.  C. ;  Met- 
ropolitan Museum,  N.  Y. ;  Musee  du  Luxembourg, 
Paris;  centennial  medal  for  Indiana,  1916. 

*Seegmiller,  Wilhelmina. 

P.;  T.j  Author.  Born  Fairview,  Canada,  Dec.  6, 
1866;  died  Indianapolis,  Ind.,  May  24,  1913.  Train- 
ing: public  schools,  Goderick,  Canada;  private  stu- 

*  Deceased 

393 


ART  AND  ARTISTS  OF  INDIANA 

dios  of  Toronto;  School  of  Fine  and  Applied  Arts, 
Pratt  Institute,  Brooklyn.  Work:  grade  teacher 
and  principal  public  schools  Grand  Rapids,  Mich., 
1884-1887;  supervisor  of  drawing,  Allegheny,  Pa., 
1888-1892;  director  of  art,  Indianapolis,  Ind.,  1892- 
1913.  Author:  "Little  Rhymes  for  Little  Readers," 
1903;  "Primary  Handwork,"  1906;  "Applied  Arts 
Drawing  Books,"  1908;  "Other  Rhymes  for  Little 
Readers,"  1911;  "Riverside  Readers,"  1911;  "Sing 
a  Song  of  Seasons,"  1914;  "A  Hand-Clasp";  con- 
tributor to  magazines;  lecturer  on  art  educational 
topics.     Member:  AAI;  PC. 

Selleck,  Roda.     Indianapolis,  Ind. 

T,;  C;  P.  Born  Michigan.  Pupil  Denman  Ross  at 
Harvard  Univ.  Teacher  of  art  in  State  Normal  of 
Mich.;  supervisor  of  drawing,  Saginaw,  Mich.; 
teacher  of  art,  Shortridge  High  School,  Indian- 
apolis.   Member:  PC. 

Sharpe,  Julia  Graydon.     Indianapolis,  Ind. 

P.  Born  Indianapolis,  Ind.  Pupil  Steele;  Forsyth; 
HAI;  H.  Siddons  Mowbray;  Kenyon  Cox;  Walter 
Appleton  Clark.  Member:  New  York  Artists' 
Society. 

Sheldon,  Charles  Mill.    London,  England. 

/.  Born  Lawrenceburg,  Ind.  Pupil  Constant,  Le- 
febvre;  Doucet  in  Academie  Julien  in  1890.  Corre- 
spondent artist  for  leading  journals. 

Shivley,  John  Joel.     South  Bend,  Ind. 
P.     Born  South  Bend. 

Shover,  Edna  Mann.  1568  N.  New  Jersey  St.,  Indian- 
apolis, Ind. 
/.;  C.  Born  Indianapolis,  Sept.  25,  1885.  Pupil 
PAFA  under  Faber  and  Deigendesch;  also  H.  G. 
Davisson;  Thomas  Scott;  Philip  Muhr;  and  J. 
Frank  Copeland. 

Shover,  Lucy  M.     1568  N.  New  Jersey  St.,  Indianapolis, 
Ind. 
D.     Born  Indianapolis,  May  19,  1889-     Pupil  PAIA; 
ASL  of  N.  Y. ;  and  Columbia  Univ. 

Shulz,  Ada  Walter  (Mrs.  Adolph  R.  Shulz).     Nashville, 
Ind. 
P.;  T.    Born  Terre  Haute,  Ind.,  Oct.  21,  1870.   Pupil 
AIC   under   Vanderpoel;    Vitti   Academy   in   Paris 

394 


WHO'S  WH6  IlSr  ART 

under  Merson  and  Collin.     Member:  Chicago  SA; 
Wis.  PS ;  AGC. 
Shulz,  Adolph  R.     Nashville,  Ind. 

Ldscp,  P.;  T.  Born  Delavan,  Wis.,  June  12,  1869- 
Pupil  AIC;  ASL  of  N.  Y.;  Julien  Academy  in  Paris 
under  Lefebvre,  Constant,  and  Laurens.  Member: 
Chicago  SA;  Chicago  AG;  Chicago  AC;  Wisconsin 
PS.  Awards:  Young  Fortnightly  prize  AIC,  IQOO; 
Grower  prize  AIC  1908;  Municipal  A.  Lg.  pur- 
chase AIC,  1904.  Represented:  "Frost  and  Fog," 
Art  Institute  of  Chicago. 
*SiCKLER,  Edward  E. 

P.      Born   Rainsville,   Ind.,    I860;    died   Indianapolis, 
1904.     Pupil  Otto  Stark;  Member:  AAI. 
SiES,  Walter. 

P.     Lived  for  many  years  in  Crawfordsville,  Ind. 
Sims,  Lydia  Hall.     Simcraft  Studio,  South  Bend,  Ind. 
C;  D.;  L.      Pupil   Museum  School   of  Art,   Boston, 
Mass.;  also  Dr.  Denman  Ross  of  Harvard. 
Sims,  Ralph  W.     6224  Greenwood  Ave.,  Chicago,  111. 

S.     Born  Delphi,  Ind.,  Jan.  18,  1888.     Pupil  Lorado 
Taft.     Member:  CC  of  Chicago. 
*SiNKS,  Alois  E. 

P.;  Critic.      Born   Dayton,   O.,   Oct.    1848;   died   In- 
dianapolis, July,  1881. 
SiTZMAN,  Edward  R.     Indianapolis,  Ind. 

P.     Born  Cincinnati,  O.     Pupil  Cin.  AA. 
Smith,  Helen  Stubbs.     Indianapolis,  Ind. 

C;  r.     Born  Spiceland,  Ind.,  Oct.  11,  1890.     Pupil 
Roda  Selleck;  PAIA. 
Sorensen,  Clara  Barth  Leonard.     1620  8th  Ave.,  Cedar 
Rapids,  Iowa;  1506  Barth  Ave.,  Indianapolis,  Ind. 
S,     Born   Indianapolis,   Nov.   29,    1877.      Pupil   AIC 
under   Lorado   Taft,   also   Victor   Brenner   of   New 
York.      Member:    SS    of    Indiana.      Represented: 
bronze  bust  of  Judge  Neal,  State  Library;  bronze 
memorial    tablet    in    William    Bell    School;    bronze 
memorial  tablet  in  Shortridge  High  School,  Indian- 
apolis. 
Snapp,  Frank.     15  West  67th  St.,  New  York,  N.  Y. 

*  Deceased 

395 


ART  AND  ARTISTS  OF  INDIANA 

/.     Born  Princeton,  Ind.     Member:  SI  1910. 

Snyder,  William  McKendree.     Madison,  Ind. 

P.  Born  Liberty,  Ind.  Pupil  Eaton,  Inness,  and 
Bierstadt. 

Sparks,  Mrs.  Mollie.     Valparaiso,  Ind. 

P.;  T.  Director  Art  Department  at  Valparaiso  Univ. 
Pupil  AIC. 

Spread,  Henry  C. 

Port.  P.     In  Indianapolis  in  1875. 

*Stair,  Mrs.  Ida  M. 

S.;  T.  Born  Logansport,  Ind.,  Feb.  4,  1857;  died  Den- 
ver, Col.,  March  27,  1908.  Pupil  of  Chase;  Preston 
Powers  in  New  York;  and  of  Lorado  Taft  in  Chi- 
cago. Awards:  medal  Omaha  Exp.  1898.  Member: 
Artists*  Club  of  Denver.  Represented:  Statues  of 
Myron  Reed  and  ex-Gov.  Gilpin  for  parks  in  Den- 
ver, and  executed  busts  of  John  Clark  Ridpath  and 
Judge  Merrick  A.  Rogers  and  others. 

Staley,   Clarence   W.      Martinsville,   Ind. 

P.     Born  Sanborn,  Ind.,  Jan.  19,  1892.     Self-taught. 

Stark,  Otto.  1722  N.  Delaware  St.,  Indianapolis,  Ind. 
P.;  I.;  T.  Born  Indianapolis,  Jan.  29,  1859-  Pupil 
Cin.  AA;  ASL  of  N.  Y.;  Academic  Julien  under 
Lefebvre,  Boulanger,  and  Cormon.  Awards:  hon. 
men.  Richmond  1907;  Foulke  prize  Richmond 
1908;  first  Holcomb  prize  HAI  1915.  Member: 
SWA;  PC;  hon.  member  AAI.  In  charge  Art 
Dept.  Manual  Training  and  Technical  high  schools; 
instructor  HAI,  Indianapolis.  Represented:  *'Two 
Boys"  and  "The  Indian  Trail,"  HAI;  "River  Val- 
ley and  Hill,"  Cin.  Art  Museum;  murals  City  Hos- 
pital and  School  No.  60,  Indianapolis;  portrait  of 
Gen.  George  Rogers  Clark,  State  House;  "Evening," 
Shaw  Gallery,  New  York  City;  "The  Committee," 
Lawrence,  Kan. 

Steele,  Brandt  T.     811  East  Drive,  Woodruff  Place,  In- 
dianapolis, Ind. 
P.;  D.  C.     Born  Battle  Creek,  Mich.,  Nov.  16,  1870. 
Pupil  T.   C.  Steele;  Aman-Jean,   Paris.      Member: 
Indianapolis  Arch.  Asso. ;  former  instructor  at  HAI. 

*  Deceased 

396 


THE  KNITTER 


LOUISE  A.  ZARING 


WHO'S  WHO  IN  ART 

Steele,  Helen  McKay  (Mrs.  Brandt  T.  Steele).  811  East 
Drive,  Woodruff  Place,  Indianapolis,  Ind. 
P.;  I.;  C.  Born  Indianapolis.  Pupil  T.  C.  Steele, 
William  Forsyth;  AIC;  designer  of  art  glass.  Mem- 
ber: AAI.  Illustrated  Children's  Supplement  for 
Indianapolis  Star. 

Steele,  Theodore  C.  1322  E.  Market  St.,  Indianapolis, 
Ind.;  summer,  Bloomington,  Ind.,  R.  R.  No.  6. 
Ldscp.  P.;  Port.  P.  Born  Owen  County,  Ind.,  Dec. 
11,  1847.  Pupil  Royal  Academy,  Munich,  under 
Benczur  and  Loefftz.  Member:  ANA  1913;  SWA 
(pres.  1898-9),  P.  C;  hon.  member  AAI;  AGC; 
International  Jury  of  Awards  St.  Louis  Exp.  1904. 
Awards:  Academy  medal  at  Munich;  hon.  men. 
Paris  Exp.  1900;  Foulke  prize  Richmond  1907; 
Fine  Arts  Bldg.  prize  1909;  A.  M.  Wabash  College 
1898;  silver  medal  Wednesday  Club,  St.  Louis; 
LL.D.  Indiana  University  1916.  Represented: 
"Gordon  Hill,"  Cincinnati  Museum;  "Oaks  at  Ver- 
non," portrait  of  Rev.  N.  A.  Hyde,  "The  River," 
"Winter  Sunlight,"  HAI,  Indianapolis;  "Land- 
scape," St.  Louis  Museum;  "White  Water  Valley," 
Richmond,  Ind.,  Art.  Asso. ;  portrait  Dr.  W.  W. 
Parsons,  Ind.  State  Normal;  "Harvest  Time," 
Waveland,  Ind.,  Library;  "Landscape,"  Boston  Art 
Club;  "Spring,"  "Summer,"  "Autumn,"  and  "Win- 
ter," City  Hospital,  Indianapolis;  "Winter  Noon- 
day," Tipton  Library;  "The  Last  Ray  in  Novem- 
ber," Martinsville  Library. 

Stein,  Evaleen.     Lafayette,  Ind. 

P.;  D.;  I.  Born  Lafayette.  Pupil  AIC.  Author: 
"One  Way  to  the  Woods,"  "Among  the  Trees 
Again,"  "Troubadour  Tales,"  "Gabriel  and  the 
Hour-Book,"  "The  Little  Shepherd  of  Provence," 
and  "The  Little  Count  of  Normandy." 

Stemm,  Ruth.     1300  N.  Dearborn  St.,  Chicago,  111. 
/.    Born  Goshen,  Ind. 

St.  John,  Lola  Alberta.    Albany,  Ind. ;  Mapledale  Farm. 
P.      Born    Mapledale   Farm,    July    16,    1879.      Pupil 
HAI;  Cin.  AA;  J.  Ottis  Adams  at  Brookville.   Mem- 
ber: AAI;  Muncie  Art  Asso.     Represented:  "OctQ- 
ber  Morning,"  High  School,  Montpelier,  Ind, 

397 


ART  AND  ARTISTS  OF  INDIANA 

^Stephens. 

Port.  P.     In   Indiana  in   1835.      Painted  portrait  of 
John  P.  Dillon  in  State  Library  in  1835. 
Stevens,  Mrs.  Widl  Henry.     Vevay,  Ind. 
T.;  D.    Pupil  Cin.  AA  and  Pratt  Inst. 
Stevens,  Will  Henry.     Vevay,  Ind. 

P.;  Potter.  Born  Vevay,  Nov.  28,  1881.  Pupil  Cin. 
AA,  under  Nowottny,  Caroline  Lord,  and  Meakin; 
Jonas  Lie  and  Van  Bearing  Perrine  in  New  York. 
Member:  SWA;  International  Soc.  of  Arts  and 
Letters.  Awards:  Foulke  prize  Richmond,  Ind., 
1914.  Decorator  Rookwood  Pottery. 
*Strauss,  G.  Vernon. 

P.     Died  Crawfordsville,  Ind.,  I906. 
Study,  Herbert  Spencer.    Vancouver,  B.  C. 

D.      Born   Williamsburg,    Ind.,    Nov.    5,    1878.      De- 
signer of  book-plates. 
Stiffler,  Iva  Haverstock.    Butler,  Ind. 

P.     Born  Butler,  Ind.,  Oct.    19,   1887.     Pupil  HAI 
under  Forsyth  and  Wheeler;  pottery  under  Judson 
T.   Webb   of   Chicago;   china,   Mrs.   Alice   Hadley, 
Indianapolis. 
Swope,  H.  Vance.     Van  Dyck  Studios,  939  Eighth  Ave., 
New  York,  N.  Y.;  summer,  Leonardo,  New  Jersey. 
P.    Born  Jefferson  County,  Ind.,  March,  1879-    Pupil 
Cin.    AA;    NAD,    New   York;    Julien   Academy   in 
Paris   under   Constant.     Member:    Les   Anciens   de 
I'Academie  Julien,  MacDowell  Club.     Represented: 
Public  Library,  Seymour,  Ind. 
Taflinger,  Elmer.     925   N.  Dearborn  St.,  Indianapolis, 
Ind.     Van  Dyke  Studios,  56th  St.   and  8th  Ave., 
New  York,  N.  Y. 
P.     Born  Indianapolis,  March  3,   1891.     Pupil  ASL 
of  N.  Y. 
Taggart,  Lucy  M.     1331  N.  Delaware  St.,  Indianapolis, 
Ind. 
P.     Born   Indianapolis.      Pupil   Forsyth;    Chase   and 
Charles    W.    Hawthorne;    also   studied    in    Europe. 
Member:  AAI;  NAC;  SWA. 
Taylor,  Myrtle  L.     Columbus,  Miss. 

T.;  D.     Born  Indianapolis.     Pupil  Ernest  Batchelor 

*  Deceased 

398 


WHO'S  WHO  IN  ART 

and  Franklin  Klein.     Instructor  in  applied  design. 
State  College  of  Mississippi. 

*Tester,  Peter. 

Port.  P.  Born  Germany;  died  Freelandsville,  Ind. 
Studied  in  Germany. 

TicE,  Temp.      1652   Belief ontaine  St.,   Indianapolis,  Ind. 
T.;  P.     Born  Batavia,  Ohio.     Pupil  Ind.  Art  School; 
under  T.  C.  Steele,  Forsyth,  and  J.  Ottis  Adams. 
Teacher  HAI  school  since  its  organization. 

Todd,  Marie  C.     1901  N.  Delaware  St.,  Indianapolis,  Ind. 
T.      Born    Indianapolis.      Pupil    AIC;    Pratt    Inst.; 
Charles  Woodbury.     Assistant  supervisor  of  draw- 
ing in  Indianapolis  public  schools. 

Trobaugh,  Roy.     Delphi,  Ind. 

P.  Born  Delphi,  Jan.  21,  1878.  Pupil  ASL  of  N.  Y. 
under  Twachtman.  Member:  SWA  (Asso.).  Repre- 
sented: "Valley  Pastures,"  High  School,  Columbia 
City;   "Moonrise,"   High  School,  Greencastle,   Ind. 

TuRMAN,  William  T.  1629  S.  Fifth  St.,  Terre  Haute, 
Ind. 
P.;  r.  Born  Graysville,  Ind.,  June  19,  1867.  Pupil 
AIC;  Francis  Smith;  A.  F.  Brooks  and  A.  T.  Van 
Laer  of  New  York.  Member:  Terre  Haute  Art 
Association;  head  of  Art  Dept.  Ind.  State  Normal 
since  1894.  Represented:  "Among  the  Beeches," 
Public  Library,  Thorntown,  Ind.;  "Through  and 
Beyond,"  High  School,  Columbia  City,  Ind. 

Ullman,  Alice  Woods.    2  Quai  Malaquaia,  Paris,  France. 
P.;  /.     Born  Goshen,  Ind.     Pupil  T.  C.  Steele  and 
Forsyth;  William  M.  Chase;  studied  in  Paris.   Mem- 
ber N.  Y.  Woman's  AC ;  N AC. 

Upchurch,  Mary  B.   (Mrs.  George  E.  Upchurch).     522 
Line  St.,  Evansville,  Ind. 
Min.  P.;  T. 

Vance,  Fred  Nelson.     Crawfordsville,  Ind. 

P.  Born  Crawfordsville,  1880.  Pupil  AIC;  Art  Acad- 
emy of  Chicago;  studied  under  Laurens,  Gerome, 
and  Max  Bohn  in  Paris.  Member:  AAA  in  Paris; 
League  of  Am.  Artists  London.  Award:  Smith 
Julien  Concour  190O.  Represented:  AAA  Paris; 
Carnegie  Library,  Crawfordsville. 

*  Deceased 

399 


ART  AND  ARTISTS  OF  INDIANA 

*Vance,  George. 

P.     Died  Crawfordsville,  Ind.,  1911. 

Van  Pelt,  Dale.     Chicago,  111. 
I.     Born  Vevay,  Ind. 

Vawter,  John  William.     Nashville,  Brown  Co.,  Ind. 

7.  Born  Boone  Co.,  Va.,  April  13,  1871.  Repre- 
sented: Illustrated,  "The  Rabbits'  Ransom"  and 
other  books  for  children;  comic  series  for  Cincin- 
nati Commercial  Gazette;  James  Whitcomb  Riley's 
poems. 

VoLLAND,  Lillian.    737  Mechanic  St.,  Columbus,  Ind. 

P.;  T.  Born  Columbus.  Pupil  HAI  under  Steele, 
Forsyth,  and  J.  Ottis  Adams;  also  Robert  Henri 
and  Frank  Alva  Parsons  of  New  York;  Graduate 
New  York  School  of  Fine  and  Applied  Arts.  Mem- 
ber: Western  Art  Teachers'  Asso.  Award:  Scholar- 
ship in  SFAA.     Represented:  gallery  of  SFAA. 

*VoNNEGUT,  Bernard. 

Arch.  Born  Indianapolis,  Aug.  8,  1855;  died  Indian- 
apolis, Aug.  7,  1908.  Studied  Massachusetts  In- 
stitute of  Technology  and  Polytechnic  Institute,  of 
Hanover,  Germany.  He  was  in  the  office  of  George 
B.  Post  of  New  York  for  a  few  years.  In  1888 
formed  a  partnership  with  Arthur  Bohn,  under  the 
firm  name  of  Vonnegut  &  Bohn.  Important  build- 
ings erected  by  the  firm  are:  Herron  Art  Institute; 
Jewish  Temple,  Indianapolis;  Students'  Building, 
Indiana  University;  Federal  Building,  Vincennes; 
Shortridge  High  School,  and  many  prominent  resi- 
dences of  Indianapolis.  He  was  elected  a  member 
of  the  Western  Association  of  Architects  in  1886, 
and,  by  an  act  of  consolidation  with  the  American 
Institute  of  Architects,  became  a  Fellow  of  the 
Institute  in  1889-  He  was  also  a  member  of  the 
Architectural  League  of  America. 

*VoN  Smith. 

Port,  P.  Father  and  son,  in  Vincennes  from  1836  to 
1840. 

Voris,  Mrs.  Millie  Roesgen.     Columbus,  Ind. 

P.  Born  Dudleytown,  Ind.  Pupil  Jacob  Cox,  Lottie 
Guffin,  and  William  M.  Chase. 

*  Deceased 

400 


STORMY   SPRING  WEATHER  WILL   HENRY    STEVENS 


WHO'S  WHO  IN  ART 

Wagenhals,  Katherine  H.     Ft.  Wayne,  Ind. 

P.  Born  Edensburg,  Pa.,  Aug.  2,  1883.  Pupil  Art 
Dept.  South  College;  ASL  of  N.  Y.;  Academic 
Moderne  in  Paris.  Awards:  Art.  Asso.  prize  of 
HAI  1916.  Member:  SWA.  Represented:  "The 
Visitor/'  HAI. 

Wagner,  Frank  Hugh.     Milford,  Ind.;  Oak  Farm. 

P.  Born  Milton,  Ind.,  1870.  Pupil  AIC  under  Van- 
derpoel.  Freer,  Brown,  and  Mulligan.  Charter 
member  PCC.  Represented:  "The  Adoration  of  the 
Magi,"  St.  Joseph's  Chapel,  West  Pullman;  ivory 
miniatures,  P-P  Exp.   1915. 

Wagner,  Mary  North  (Mrs.  Frank  H.  Wagner).     Mil- 
ford,  Ind. ;  Oak  Farm. 
P.;  I.    Born  Milford,  1875.     Pupil  AIC.    Represented 
at  P-P  Exp.  1915  by  book-plates. 

Walker,  Ferdinand  Graham.  308  Commercial  Building, 
Louisville,  Ky. ;  home.  New  Albany,  Ind. 
P.  Born  Mitchell,  Ind.,  Feb.  I6,  1859.  Pupil  Dag- 
nan-Bouveret;  Puvis  de  Chavannes;  Blanche  and 
Merson  in  Paris.  Member:  A.  Fed  A.;  Louisville 
Artists'  League;  SIA.  Represented:  St.  Peter's 
Church,  Louisville,  Ky. 

*Walker,  T.  Dart. 

Port,  and  Marine  P.;  I.  Born  Goshen,  Ind.;  died  at 
Bellevue  Hospital,  New  York,  July  21,  1914.  Stud- 
ied in  Paris.  He  exhibited  a  painting  in  London 
which  is  now  owned  by  Notre  Dame,  South  Bend, 
Ind.  He  was  illustrator  for  Harper's  and  Leslie's. 
He  was  the  official  artist  with  the  American  fleet  in 
the  cruise  around  the  world. 

Washburn,  Mary.     118  E.  Oak  St.,  Chicago,  111. 

S.;  L.  Born  Star  City,  Ind.,  1868.  Pupil  AIC; 
Edward  Sawyer,  Paris.  Member:  SS  of  Ind. 
Awards:  bronze  medal  P-P  Exp.  1915.  Exhibited: 
Paris  Salon  1913;  International  Exhibition  of  Paris; 
P-P  Exp.  1915. 

Weaver,  Mrs.  Emma  Matern.     Greencastle,  Ind. 

P.;  T.    Born  Sandusky,  Ohio.    Pupil  Adelphi  College, 

*  Deceased 

401 


ART  AND  ARTISTS  OF  INDIANA 

Brooklyn;   Cin.   AA;   ASL   of   N.   Y.;   Berlin  and 
Paris. 

Weber,  Rosa.    226  W.  Main  St.,  Ft.  Wayne,  Ind. 

P.     Born  Ft.  Wayne.     Pupil  Ft.  Wayne  Art  School. 

*Weisenburger,  Mrs.  Sadie. 

P.  Died  Indianapolis,  Oct.,  1915.  Pupil  Steele  and 
Forsyth. 

Wessel,  Herman  H.     Cincinnati,  Ohio. 

P.;  T.  Born  Vincennes,  Ind.  Pupil  Cin.  AA;  studied 
in  Europe.  Member:  SWA;  Cin.  AC.  Instructor 
at  Cin.  AA. 

Westerfield,  J.  Mont.     Englewood,  Colo.    R.  R.  1. 

P.  Born  Hartford,  Ky.  Pupil  Paul  A.  Plaschke  in 
New  Albany,  Ind.,  and  F.  G.  Walker.  Member: 
Louisville  Artists'  League   (vice-pres.   1912). 

Weyl,  Lillian.     3906  Broadway.     Indianapolis,  Ind. 

T.  Born  Providence,  Ind.  Pupil  Pratt  Inst.;  Co- 
lumbia Univ.  under  Arthur  W.  Dow.  Assistant 
director  of  art  in  Indianapolis  public  schools. 

Wheeler,  Clifton  A.  5317  Lowell  Ave.,  Indianapolis, 
Ind. 
P.;  T.  Born  Hadley,  Ind.,  Sept.  4,  1883.  Pupil 
Forsyth  in  Indianapolis;  Henri,  Miller,  and  Chase 
in  New  York;  Chase  in  Europe.  Awards:  hon. 
men.  Richmond,  Ind. ;  Foulke  prize,  Richmond,  Ind., 
1917.  Member:  SWA;  PC.  Instructor  at  HAL 
Represented:  murals  City  Hospital,  Indianapolis; 
"Garden  in  Ice  and  Snow,"  Carnegie  Library. 
Thorntown,  Ind.;  murals,  Circle  Theater,  Indian- 
apolis.    Holcomb  prize  HAI  1921. 

*Whitridge,  Thomas  W. 

Ldscp.  P.;  Port,  P.  Born  Ohio,  1820;  died  Summit, 
N.  J.,  Feb.  25,  1910.  Opened  first  daguerreotype 
gallery  in  Indianapolis.  Studied  in  London,  Paris, 
Antwerp,  and  Diisseldorf  under  Andreas  Achenbach. 
Member:  ANA;  NA,  1862;  president  of  the  acad- 
emy 1875-6;  Century  Association;  Lotos  Club. 
Awards:  bronze  medal  Centennial  Exp.  Philadel- 
phia 1876;  hon.  men.  Paris  Exp.  1889;  silver  medal 

*  Deceased 

402 


WHO'S  WHO  IN  ART 

Pan.-Am.  Exp.  Buffalo  1901 ;  silver  medal  St.  Louis 
Exp.  1904. 

WiLDHACK,  Robert  J.  269  West  12th  St.,  New  York,  N. 
Y. ;  summer,  Greenlawn,  L.  I.,  N.  Y. 
/.;  P.  Born  Pekin,  111.,  Aug.  27,  1881.  Lived  in  In- 
dianapolis from  early  youth.  Pupil  Robert  Henri 
of  N.  Y.  Member:  SI  1910;  Salma  C.  Specialty: 
posters. 

Williams,  Charles  Sneed.  654  Fourth  Ave.;  h,  1913 
Avery  Court,  Louisville,  Ky. ;  summer,  "Sunny- 
bank,"  Postichhill,  Glasgow,  Scotland. 
P.  Born  Evansville,  Ind.,  May  24,  1882.  Pupil 
Edward  Biederman  and  George  Harcourt,  of  Scot- 
land. Award:  four  years'  resident  scholarship  in 
Allen  Eraser  Art  College,  Scotland.  Member: 
Louisville  Art  Association;  Societe  I'Union  Inter- 
national des    Beaux-Arts,   Paris. 

Williams,  Gaar.     Indianapolis. 

/.  Born  Richmond,  Ind.  Pupil  Cin.  AA;  AIC.  De- 
signer of  book-plates.  Cartoonist  Indianapolis 
News. 

*WiLLiAMs,  J.  Insco. 

P.  Born  Newport,  Ind.  Pupil  McMickin  School  of 
Design  in  Cincinnati,  Ohio.     Painted  panoramas. 

Williams,  Martha  A.     Muncie,  Ind. 

P.  Born  Muncie.  Pupil  J.  Ottis  Adams;  William 
Forsyth;  Cin.  AA.  Awards:  hon.  men.  Muncie  Art 
Association. 

Williams,  Walter  R.  1637  Broadway,  Indianapolis,  Ind. 
S.  Born  Indianapolis.  Pupil  Rudolph  Schwarz;  AIC 
under  Mulligan;  Museum  of  Fine  Arts,  Boston,  un- 
der Pratt;  Academic  Colorossi  and  Beaux-Arts, 
Paris.  Award:  Premiere  mention  Academic  Colo- 
rossi.    Member:  SS  of  Ind. 

Williamson,  Harry  Grant.     400  Lookout  Ave.,  Hacken- 
sack,  N.  J. 
P.     Born   Indianapolis.     Pupil   Ind.   Art  School   un- 
der Steele  and  Forsyth ;  ASL  of  Cin. ;  Munich  Acad- 
emy; The  Hague. 

Wilson,  Estol.     New  York,  N.  Y. 

Min.   P.      Born   Rushville,   Ind.      Pupil  of   Fran9ois 

*  Deceased 

403 


ART  AND  ARTISTS  OF  INDIANA 

Biloul   and   Academic    Colorossi.      Represented:    at 
Paris  Salon. 
Wilson,  Mrs.  Lucy  A.     906  N.  Illinois  St.,  Indianapolis. 
P.     Born  Warren,  O.      Pupil   Ind.   SA  under  Steele 
and  Forsyth;  ALS  of  N.  Y.  under  Beckwith.    Mem- 
ber: AAI. 
Wilson,  Nelson  D.     Evansville,  Ind. 

P.     Born  Leopold,  Ind.     Pupil  Chicago  Academy  of 
Fine  Arts.     Represented:  mural  "Capture  of  Isaac 
Knight  in  1793,"  Evansville  Bank. 
WiMMER,  Mrs.  Sue  A.     Hagerstown,  Ind. 

P.     Born  Eaton,  Ohio. 
Winn,  Alice  C.   (Mrs.  John  E.  Winn).     La  Porte,  Ind. 
P.     Born  Milwaukee,  Wis.     Pupil  Sinibaldi  at  Capri; 
Eivert   Pietut   at  Amsterdam,    Holland.      Member: 
ASL  of  Chicago.     Represented:  "Dutch  Interior," 
Carnegie  Library,  Thorntown,  Ind. 
*WiNTER,  George. 

P.  Born  Portsea,  England,  1810;  died  Lafayette, 
Ind.,  Feb.  1,  1876.  Pupil  George  Honeybourn; 
R.  A.  Arnold;  Charles  Ambrose;  Luinel  and  Robert- 
son, miniature-painters;  Bailey  the  sculptor.  Royal 
Academy,  England;  NAD,  New  York.  Repre- 
sented: Purdue  Univ. 
*WiTT,  John  Harrison.    ANA. 

P.  Born  Dublin,  Ind.,  1840;  died  in  New  York  City 
1901.  Studied  in  Cincinnati;  an  associate  of  the 
NAD  in  1885.     Member:  Artists'  Fund  Society. 

*W00DWARD,  WiLBER  WiNFIELD. 

P.  Born  St.  Omer,  Ind.,  January  8,  1851;  died  Law- 
renceburg,  Ind.,  1882.  Pupil  McMicken  School  of 
Design,  Antwerp  and  Paris;  T.  C.  Walker;  Thomas 
S.  Noble.  Awards:  gold  medal  in  McMicken  school; 
gold  medal  Cincinnati  Industrial  Exp.  1871.  Repre- 
sented: "Springtime,"  HAI;  Longworth  Collection, 
Cincinnati. 

WoY,  Leota.     1224  Washington  St.,  Denver,  Col. 

/.  Born  Newcastle,  Ind.,  July  3,  1868.  Self-taught. 
Member:  Denver  AC. 

Wright,  Char;.es  H.     1931  Broadway,  New  York,  N.  Y.; 
home,  Beechmont  Park,  New  Rochelle,  N.  Y. 

*  Deceased 

404 


THE  SCOUT  RUDOLPH  SCHWARZ,  1866-1912 

SOLDIERS-SAILORS  MONUMENT,  MONUMENT  PLACE,  INDIANAPOLIS 


WHO'S  WHO  IN  ART 

P.;  I.     Born  Knightstown,  Ind.,  Nov.  20,  1871.    Pupil 
ASL  of  N.  Y. 
Wright,  Fred  W.     15  West  67th  St.,  New  York,  N.  Y. 
P.     Born  Crawfordsville,  Ind.,  Oct.  12,  1880.     Pupil 
J.    Ottis    Adams ;    HAI ;    Academic    Julien    and    P. 
Marcel  Baraneau  in  Paris. 
YoHN,  Frederick  C.     Norwalk,  Conn. 

/.     Born  Indianapolis,  Feb.  8,  1875.     Pupil  Forsyth 
and  Steele;  ASL  of  N.  Y.  under  Mowbray.     Mem- 
ber: SI  1901. 
Zaring,  Mrs.  Louise  A.     Greencastle,  Ind. 

P.  Born  Cincinnati,  O.  Pupil  ASL  of  N.  Y.; 
Academic  Vitti  Paris,  under  Merson  and  MacMon- 
nies;  Aman-Jean,  Raphael  Colin;  Julian  Dupre; 
Cape  Cod  Art  School  under  Charles  W.  Hawthorne; 
William  Forsyth.  Awards:  bronze  medal  and  hon. 
men.  from  Academic  Vitti;  hon.  men.  Richmond, 
Ind.  Member:  SS  of  Ind. 
Zimmer,  Clare  Robin.     Cincinnati,  Ohio. 

/.;   D.      Born    Elkhart,    Ind.,    Oct.    2,    1889.      Pupil 
Chicago  Academy  of  Fine  Arts. 


405 


INDIANA  ILLUSTRATORS 


See   Who's    Who   for  Addresses   and   Biographical   Notes 


Andersen,  Martinus 

Angell,  Clare 

Bacon,  Mrs.  Eliz.  Driggs 
*Ball,  L.  Clarence 

Bartlett,   M.   Ellsworth 

Baumann,  Gustave 

Berry,  Wils 

Blosser,  Merrill  C. 

Booth,  Franklin 

Booth,  Hanson 
*Brazington,  William  C. 

Brehm,  George 

Brehm,  Worth 

Brewer,  Emily 

Brown,  Ethel 

Brown,  Harold  Haven 

Brownlee,  Cornelia  A. 

Clark,  Virginia  Keep 

Clawson,  Charles  Howard 

Cole,  Blanch  Dougan 

Davidson,  Oscar  L. 

Emerich,  Harvey 

Falls,  Charles  B. 
*Forgy,  John  D. 
*Galloway,   Walter 

Graf,  Carl  C. 

Griswold,  Bert  J. 

Gruelle,  John  B. 

Gruelle,  Justin  C. 

Hager,  John  R. 

Hager,  Luther  G. 

*  Deceased 


Herold,  Don  C. 
Hubbard,  Frk.  M'Kinney 
Jackson,  Chic 
Jacoby,    Helen   Eaton 
Jameson,  Samila  L. 
Ketcham,  Roy  A. 
Knecht,  Karl  Kae 
Kurtz,  Wilbur  G. 
Larimer,  Harry 
Lauderbeck,  Walter  S. 
Levering,  Albert 
McCann  Rebecca 
McCormick,  Howard 
McCutcheon,  John  T. 
^McDonald,  Mary 
Matzke,  Albert 
Newman,  Anna  M. 
Peake,  Harvey 
Perkins,   Lucy   Fitch 
Plaschke,  Paul  A. 
Policy,  Frederick 
Randall,   D.  Ernest 
Richards,  Louis 
Robinson,  Mary  Y. 
Rogers,  Bruce 
Rush,  Olive 
Sheldon,  Charles  Mills 
Snapp,  Frank 
S hover,  Edna  M. 
Stark,  Otto 
Steele,  Helen  McKay 


406 


INDIANA  ILLUSTRATORS 

Stein,  Evaleen  Wildhack,  Robert  J. 

Stemm,  Ruth  Williams,  Garr 

Teague,  Walter  Darwin  Woy,  Leota 

Ullman,  Alice  Woods  Wright,  Charles  H. 

Van  Pelt,  Dale  Yohn,  Frederick  C. 

Vawter,  John  William  Zimmer,  Clare  R. 
Wagner,  Mary  North 


407 


INDIANA   DESIGNERS    OF   BOOK-PLATES 

See  Who's  Who  for  Addresses  and  Biographical  Notes 

Abbott,  William Goshen 

Arford,  Mrs.  Virginia Chicago,  111. 

Austin,  Ennis  Raymond South  Bend 

*Ball,  L.  Clarence. South  Bend 

Bernhardt,  Carl  Lewis Richmond 

Booth,  Franklin New  York,  N.  Y. 

Brayton,  Elizabeth  Nicholson Indianapolis 

Brockenbrough,   Eleanor Lafayette 

Burr,  Horace New  Castle 

Cathell,  Mrs.  Edna  Stubbs Richmond 

Carleton,  Mrs.  Emma New  Albany 

Craig,  Mrs.  M.  A Terre  Haute 

Ellsworth,    Ada    L Lafayette 

Ford,  Helen Indianapolis 

Fox,  Florence Richmond 

Friedley,  Jesse Indianapolis 

Goddard,  Anna Muncie 

Greenfeal,  Grace Muncie 

Greenfeal,  May Muncie 

Griffith,  Mrs.  Helene Ft.  Wayne 

Hasselman,  Anna Indianapolis 

Hamilton,  Nora Ft.  Wayne 

Hendricks,  Bessie Indianapolis 

McCoRMicK,  Howard Leonia,  N.  J. 

McNuTT,  Francis  A Richmond 

Neubacher,  Mrs.  Margaret  Steele  .  Indianapolis 

Newman,  Anna Richmond 

*Overbeck,  Margaret Cambridge  City 

OvERBECK,  Mary Cambridge  City 

Peddle,  John  B Terre  Haute 

*  Deceased 

408 


DESIGNERS  OF  BOOK  PLATES 

Peake,  Harvey New  Albany 

Rogers,  Bruce Boston,  Mass. 

Rood,  Helen  L Terre  Haute 

Rush,  Olive , Indianapolis 

Sharpe,  Julia  G Indianapolis 

Steele,  Helen   McKay Indianapolis 

Stein,    Evaleen Lafayette 

Study,  Herbert  Spencer Vancouver,  B. 

Shover,  Edna  Mann Indianapolis 

Shover,   Lucy Indianapolis 

Stevens,  Mrs.  Will   Henry Vevay 

Tarkington,  Louisa  Fletcher Indianapolis 

Vance,  Fred  Nelson Crawfordsville 

VoRis,  William  R Franklin 

Vaughn,  Dorothy Richmond 

*  White,  Raymond  Perry >.  Richmond 

Williams,  Gaar Indianapolis 

Wagner,  Mary  North Milford 

WooDBERRY,  Mrs.  Marion  B Lafayette 

*WooDWORTH,  Mrs.  L.  E Ft.  Wayne 

Zaring,   Mrs.    Louise Greencastle 


*  Deceased 


409 


INDIANA  ART  SCHOOLS 

Bloomington 

Indiana  State  University,  Art  Department. 

Alfred  M.  Brooks,  head  of  department;  two  instruc- 
tors.    Founded  1898.     Day  and  evening  classes. 
Cambridge  City 

Overbeck  School  of  Pottery,  Overbeck  Studios. 

Founded    1911.      Original    designs    and    decorations. 
Designing,    pottery-making   on    wheel   or   hand   built, 
and  firing.     Summer  only;  four  weeks.     Tuition,  $35. 
Ft.  Wayne 

Ft.  Wayne  School  of  Art. 

Homer    Gordon    Davisson,   director.      Founded    1880. 
Drawing,    painting,    design,    crafts.         Tuition,    $8    a 
month,  day  class;  $3  a  month,  night  class  for  seven 
months. 
Indianapolis 

Indianapolis  Architectural  Club,  956  Lemcke  Annex. 
R.   F.   Daggett,  patron.     Architecture  in  cooperation 
with  the  Beaux-Arts  Institute  of  Design. 

School  of  the  John  Herron  Art  Institute,  Art  Associa- 
tion of  Indianapolis,  Pennsylvania  and  Sixteenth 
Streets. 

Harold  Haven  Brown,  director;  eight  instructors. 
Founded  1902.  Drawing,  painting,  illustration,  indus- 
trial design,  modeling  design,  costume  design,  interior 
decoration,  and  normal  art.  Tuition,  $65  for  eight 
months,  day  classes.  Evening,  $20;  Saturday,  $20; 
children's,  $8.  Summer:  Tuition,  $25  for  twelve 
weeks;  children's  class,  $2.75. 
Lafayette 

Purdue  University,  Art  Department. 

Laura  A.  Fry,  director.     Established  1878. 
Notre  Dame 

University  of  Notre  Dame,  College  of  Architecture. 
Francis  Wynne  Kervick,  head  of  department;  twelve 

410 


INDIANA  ART  SCHOOLS 

instructors.       Department    founded     1898.       Tuition, 

$100  for  thirty-six  weeks. 
Terre  Haute 

State  Normal  School,  Art  Department. 

William  T.  Turman,  director;  one  instructor.  Founded 

1872.     Four-year  normal  and  four-year  college  course. 

Four  terms   of  twelve   weeks   each.      Tuition    free   to 

residents  of  Indiana. 
Valparaiso 

Valparaiso  University,  Art  Department. 

Mrs.    Mollie    Sparks,    director.       Established     1873; 

crafts  department,  1902. 


4.11 


INDIANA  ART  ASSOCIATIONS  AND  ART  CLUBS 

Indiana  Circuit  Exhibit 
Richmond.     Organized  19IO. 

Indiana  Society  of  Architects 
Indianapolis.     Organized  1917.     Membership,  70. 

Indiana  Society  of  Sculptors 
Indianapolis.     Organized  191 6.     Membership,  24. 

Library  Art  Club  of  Indiana 

Bloomington.     Organized  June  2,  1915.     Under  Extension 

Division  of  the   State  University. 

Indiana   Federation   of   Clubs:   Art   Committee 

Indiana.      Organized    1909-       Department    of    Education. 

Indiana  Artists'  Traveling  Exhibition 

State  Teachers'  Association:  Allied  Arts  Section 
Indianapolis.     Organized  1915.     Membership,  6OO. 

Anderson    Art    Association 
Anderson.     Organized   19IO.     Membership,  200.     Perma- 
nent Collection. 

Attica  Art  History  Club 
Attica.    Organized  1899-     Membership,  18. 

Ladies  of  the  Round  Table 
Bedford.     Organized  1895.     Membership,  36. 

Art   Association    of    Bloomington 
Bloomington.     Organized  I9II.     Membership,  250.     Per- 
manent Collection. 

Indiana  University  Extension  Department 
Bloomington.     Organized  1914.     Circulates  exhibits  owned 
by  Fine  Arts  Department. 

412 


GEN.  GEORGE  ROGERS  CLARK 

JOHN  H.  MAHONEY 


MONUMENT    PLACE,    INDIANAPOLIS 


ART  ASSOCIATIONS  &  ART  CLUBS 

Art  League 
Crawfordsville.     Organized  1896.     Membership,  83.     Jun- 
ior League  organized   1915.     Permanent  Collec- 
tion. 

Art  League 
Evansville.      Organized    1916.      Membership,   97.      Senior 
Division.     Junior  League  organized  1916.     Mem- 
bership, 200. 

Ft.   Wayne  Art  Association 
Ft.   Wayne.      Organized    1888.      Membership,    15.      Main- 
tains art  school.     Permanent  Collection. 

Frankfort  Art  Assoociation 
Frankfort.     Organized  1914.     Membership,  42. 

Art   Club 
Greencastle.     Organized  1893.     Membership,  12. 

Greensburg  Department  Club:  Art  Circle 
Greensburg.     Organized  1914.     Membership,  12. 

Architects'  Association   of   Indianapolis 
Indianapolis.     Organized  1908.     Membership,  30. 

Art  Association  of  Indianapolis 
John  Herron  Art  Institute 
Indianapolis.     Organized   1883.     Membership,  583.     Per- 
manent Collection. 

Friends  of  American  Art 
Indianapolis.     Organized  June  1,  1919'     Membership  89. 

Society  of  Indiana  Artists 
Indianapolis.     Organized   1917.      Membership,   86. 

Indiana   Keramic    Club 
Indianapolis.     Organized  1897.     Membership,  30. 

Portfolio  Club 
Indianapolis.      Organized    1890.      Membership,    50.      Per- 
manent Collection. 

413 


ART  AND  ARTISTS  OF  INDIANA 

Sketching  Club 
Indianapolis.     Organized  1887.     Membership,  12. 

Study  Club 
Indianapolis.     Organized  1895.     Membership,  25. 

Woman's   Department   Club:   Art   Department 
Indianapolis.     Organised   1912.     Membership,  50.     Exhi- 
bitions.   Permanent  Collection. 

Lafayette  Art  Club 
Lafayette.     Organized  1898.     Membership,  23. 

Lafayette  Art  Association 
Lafayette.     Organized  1909.     Membership,  650.     Perma* 
nent  Collection. 

LoGANSPORT  Art  Association 
Logansport.     Organized    1911.      Membership,  250.     Per- 
manent Collection. 

Logansport  Art  .Club 
Logansport.     Organized  1900.     Membership,  15. 

Florentine  Club 
Lebanon.     Organized  1898.     Membership,  20. 

The   Marion  Art  Club 
Marion.     Organized  1900.     Membership,  25. 

Marion  Public  Library 
Marion.     Permanent  collection  of  paintings,  sculpture,  and 
other  objects. 

Monday  Afternoon  Art  Club 
Martinsville.     Organized  1901.     Membership,  25. 

Woman's  Club:  Art  Department 
Mishawaka.     Organized  1911.     Membership,  30. 

Art  Association  of  Muncie 
Muncie.     Organized  1906.     Membership  1,200. 

414 


ART  ASSOCIATIONS  &  ART  CLUBS 

Art   Students'   League 
Miincie.     Organized  1892.     Membership,  35. 

Art  Gallery  and   Museum   of   the   Workingmen's 
Institute 
New  Harmony.     Organized   1838;  gallery   1887.     Perma- 
nent Collection. 

Peru  Art  Club 
Peru.     Organized  1899-     Membership,  15. 

Art  Association   of   Richmond 
Richmond.     Organized  1897.     Membership,  100.     Perma- 
nent Collection. 

Seymour  Art  League 
Seymour.      Organized   1914.      Membership,   220.      Perma- 
nent Collection. 

Carnegie  Public  Library 
Shelbyville.     Permanent    Collection.     Murals    by    R.    B. 
Gruelle. 

The  Coterie 
Shelbyville.     Organized  1891.     Membership,  28. 

Progress  Club:  Art  Department 
South  Bend.     Organized   1895. 

Terre  Haute  Art  Association 
Terre  Haute.     Organized   1908.      Membership,   180. 

Terre  Haute  Woman's  Club  :  Art  Section 
Terre  Haute.     Organized   1901.     Membership,  30. 

Tipton  Art  Association 
Tipton.     Organized   1911.      Membership,  75.      Permanent 
Collection. 

Thorntown  Art  Association 
Thorntown.     Organized  1915.     Permanent  Collection. 

Woman's  Club  of  Valparaiso:  Art  Department 
Valparaiso.     Organized  1902.     Membership,  33, 

415 


ART  AND  ARTISTS  OF  INDIANA 

ViNCENNEs  Art  Association 
Vincennes.     Organized     1907-     Permanent    Collection    in 
High  School. 

Vincennes  Fortnightly  Club:  Art  Department 
Vincennes.     Organized  1894.     Membership,  34. 

School  Art  League 
Washington.     Organized  1917.     Membership,  125.     Junior 
League,  200. 

Winchester  Art  Association 
Winchester.     Organized  1916. 


416 


VICE-PRESIDENT  SCHUYLER  COLFAX 

FRANCIS  M.  GOODWIN 


UKITED   STATES   SENATE    GALLERY,    WASHINGTON,   D.    C. 


PORTRAITS  OF  GOVERNORS  OF  INDIANA 
STATE  LIBRARY 


Governor 
William   Henry   Harrison 
John  Gibson 

(acting  Governor) 
Thomas  Posey 
Jonathan  Jennings 
Ratliff  Boone 
William  Hendricks 
James  Brown  Ray 
Noah  Noble 
David  Wallace 
Samuel  Bigger 
James  Whitcomb 
Paris  C.  Dunning 
Joseph  A.  Wright 
Ashbell  P.  Willard 
Abram  Hammond 

(Temporary) 
Henry  S.  Lane 
Oliver  P.  Morton 
Conrad  Baker 
Thomas  A.  Hendricks 
James  E.  Williams 
Albert  G.  Porter 
Isaac  P.  Gray 
Alvin  P.  Hovey 
Ira  J.  Chase 
Claude  Matthews 
James  A.  Mount 
Winfield  T.  Durbin 
J.  Frank  Hanley 
Thomas  R.  Marshall 
Samuel  M.  Ralston 


Artist 
Barton  S.  Hays 
No  Portrait 

John  B.  Hill 

James    Forbes    (Canadian) 

Jacob  Cox 

No  Portrait 

Jacob  Cox 

Jacob  Cox 

Jacob  Cox 

Jacob  Cox 

James  Forbes 

James  Forbes 

Jacob  Cox 

George  W.   Morrison 

(New  Albany) 
No  Portrait 
Jacob  Cox 
James  Forbes 
James  Forbes 
W.  R.  Freeman 
Colcord 
T.  C.  Steele 
T.  C.  Steele 
T.  C.  Steele 
T.  C.  Steele 
T.  C.  Steele 
James  M.  Dennis 
Seymour  Thomas 
Wayman  Adams 
Wayman  Adams 
Wayman  Adams 


417 


INDIANA  MONUMENTS 


Place  Monument  Sculptor 

Andersom' Tablet  Moravian  Mission  to 

the  Indians 

Battlb   Ground  Battle  of  Tippecanoe Architect,      McDonnell     & 

Sons,  Buffalo,  N.  Y. 

"Erected  jointly  by  the   Nation  and  State." 

"In  memory  of  the  heroes  who  lost  their  lives  in  the  Battle  of  Tippe- 
canoe, November  7,  1811.  This  monument  completed  and  dedicated  Novem- 
ber 7,  1908.  This  monument  on  the  only  great  battle-field  in  the  State  of 
Indiana,  was  erected  for  the  purpose  of  perpetuating  the  memory  of  Gen.  Wil- 
liam Henry  Harrison,  and  the  brave  officers  and  soldiers  who  followed  him  to 
protect  the  lives  and  homes  of  their  loved  ones,  and  the  people  who  in  1811 
constituted  the  citizens  of  the  states  of  Indiana  and  Kentucky.  The  Tippe- 
canoe battle  contributed  to  the  redemption  of  Indiana  from  the  control  of  the 
Indians,  and  made  possible  the  great  commonwealth  of  the  northwest,  and 
finally   the   acquisition    of  all  the  territory  west  of  the  Mississippi." 

Erected  at  a  cost  of  $25,000. 

Place  Monument  Sculptor 

Bloominqton    Bas-relief  Judge  Reinhart, 

Indiana  University  Li- 
brary   Rudolph   Schwarz 

Bloominoton     Bronze    Tablet    to    Harold 

Whetstone  Johnston   . . .  F.  F.  Ziegler 

Oambridqb  Citt   Gen.  Sol  Meredith,  Erected 

1875     John  H.  Mahoney 

Columbus    Bust   of  Joseph   I.   Irwin, 

Irwin  Gardens Rudolph    Schwarz 

Crawfordsvillb    Soldiers'     Rudolph  Schwarz 

Crawfordsvillb    Gen.    Lew    Wallace Andrew  O'Connor 

Crawfordsvillb    Memorial  Bench    Rudolph  Schwarz 

Crawfordsvillb   Bronze  Memorial  Tablet  to 

Student  Soldiers,  Wa- 
bash College   Rudolph  Schwars 

Dblphi    Soldiers' 

English     Bronze  Statue  of  William 

H.       English.       Erected 

1891    John  H.  Mahoney 

EVANSVILLB    "The     Spirit      of     1861," 

"The  Spirit  of  1916," 
Soldiers'  and  Sailors' 
Coliseum  George  H.  Honig 

Ft.  Watnb  Soldiers*  Monument.  Gen- 
eral Henry  W.  Lawton, 
Park.  Erected  1894 
"Wayne  Trace"  Marker. 
Route  traveled  by  Gen- 
eral Wayne'c  army  be- 
tween   Ft.    Wayne    and 


418 


INDIANA  MONUMENTS 

Place  Monument  Sculptor 

Cincinnati.  Erected  1918 
by  Ft.  Wayne  Chapter 
D.  A.  R. 
*'Harmer's  Crossing  Monu- 
ment." Point  of  Cross- 
ing of  the  Maumee  River 
by  the  army  of  Gen. 
Harmer  in  his  battle 
with  the  Indians  in 
1790.  Erected  1908  by 
Ft,    Wayne    Chapter    D. 

A.   R H.  G.  Davisson 

*'Johnny  Appleseed  Monu- 
ment" (John  Chapman). 
Swinney  Park.  Erected 
1916  by  Indiana  Horti- 
cultural Society,  a  huge 

boulder     

Perry    A,    Randall    Monu- 
■^  ment,      Swinney      Park. 

Erected  1906   Frederick  O.  Hibbard 

Equestrian  Statue  —  Gen- 
eral Anthony  Wayne. 
Hayden    Park.      Erected 

1916-17     George   E.    Ganiere 

Allen  County  Court- 
House.  Murals  by  Flor- 
ian  Peixotto,  Charles 
Holloway,   M.   J.   Doner, 

Carl    Gutherz    Brentwood  S.  Tolan 

Bronze  Relief    Barth  and   Staak 

Bronze  reliefs    Staak 

Music   Panel    Richard  Zeitner 

Dramatic  Art William   Ehrman 

Frankliw     Soldiers'    Rudolph    Schwarz 

Greencastle     Soldiers',      erected      1870. 

Green  CAS  TLB     Four    bronze    figures,     De 

Pauw  University Rudolph    Schwarz 

Grebnsburg     "Tree    on    Tower."      "Old 

Michigan  Road  Marker." 
(Boulder.)  Greensburg 
Chapter  D.  A.  R. 
Erected  Oct.  19,   1919. 

Greenfield     James     Whitcomb     Riley, 

Court  -  House  Square. 
Dedicated  Nov.  26,  1918. 
Funds  raised  by  George 
Beamer  Davis  and  the 
school         children        of 

America    Myra  Richards 

Indianapolis    Indiana      State      Soldiers' Rudolph  Schwarz 

and  Sailors'  Monument .  Bruno  Schmitz,  Architect 
Universally  admitted  to  be  one  of  the  greatest     achievements    of     archi- 
tectural  and   sculptural  art  in  the  world,  designed  to  glorify  the  heroic  epoch 
of    the    Republic,    and    to  commemorate  the  valor  and    fortitude   of    Indiana's 
Soldiers   and    Sailors    in    the  War  of  the  Rebellion  and  eanly  wars. 

Begun  1887  ;  Completed  1901  ;  Dedicated  1902  ;  Cost  $600,000  ;  diameter 
of  plaza  surrounding  monument,  342  feet  7  in.  ;  diameter  of  terrace,  110  feet ; 
height  of  terrace,  16  feet  4  in.;  monurhent  foundation,  69x53  feet;  depth 
of  foundation,  30  feet;  height  of  monument,  including  foundation,  314  feet 
6  in. ;  height  of  monument  from  street-level  to  top  of  statue,  284  feet  6  in. ; 
height  of  Victory  Statue,  38  feet ;  shaft  at  top,  13  feet  3  in. ;  balcony,  16 
feet. 

Indiana  Military  Museum  in  basement  of  monument.  War  pictures.  Es- 
tablished 1919. 

Peace    (high  relief) Herman  N.    Matzen 

War   (high  relief)    Herman  N.   Matzen 

The  Return   Home   (group 

statuary)    '.. .  Rudolph  Schwarz 

419 


ART  AND  ARTISTS  OF  INDIANA 

Monument  Sculptor 

The  Dying  Soldier   (group 

statuary)     Rudolph  Schwarz 

Infantryman  (statue) Rudolph  Schwarz 

Militiaman    (statue)     Rudolph  Schwarz 

Cavalryman    (statue)    Rudolph  Schwarz 

Seaman    (statue)     Rudolph  Schwarz 

Victory    Statue    Indiana , .  George  T.  Brewster 

Naval  Astragal    George  T.  Brewster 

Bronze  Astragal    George  T.  Brewster 

Army  Astragal    Nicholas  Geiger 

Governor  Oliver  P.  Mor- 
ton. Dedicated  January 
15,       1884,       Monument 

Place Franklin  Simmons 

Governor  James  Whitcomb. 
Erected  1893,  Monument 

Place John  H.  Mahoney 

General  William  Henry 
Harrison.     Erected  1895, 

Monument  Place    John  H.  Mahoney 

General  George  Rogers 
Clark.  Erected  1898, 
Monument  Place   John  H.  Mahoney 


PORTRAIT  MEDALLIONS 

English     family     for     five 

generations,  English  Ho- 
tel,   east    side    to    main 

entrance.  Erected  1881.  Henry  M.  Saunders 
Governors  of  Indiana  from 

main   entrance  to   south 

side    of    English    Hotel. 

Erected  1898,  Monument 

Place     ._i . .  Henry  M.  Saunders 

Rubens,    da    "Vinci,    Diirer, 

Michelangelo  and  Valfts- 

quez      (from      left      to 

right)      Frieze,     Herron 

Art  Institute,  Pennsyl- 
vania      and       Sixteenth 

Streets.     Erected  1906.  .Rudolph   Schware 


GRECIAN   FRIEZE 

Proscenium       Arch       and 
Frieze,  interior  of  Circle 

Theater,    M  o  n  u  m  e  n  tArchitects,       Rubush 
Place.       Erected     1916     Hunter 


STATUE 

Benjamin  Franklin.  Frank- 
lin Building.  Erected 
1874    John  H.  Mahoney 

Library  Group 

Literature,  Science,  and 
Art.  Dedicated  Octo- 
ber,   1893     Richard  W.  Bock 

Federal  Building  or  United 

States  Court-House  and  Architects,  John  Hall 
Post-Office.  Erected  Rankin  and  Thomas  M. 
1902-1905     Kellogg 


420 


THE  TORTOISE  FOUNTAIN  JANET  SCUDDER 

OWXED  BY  ART   ASSOCIATIOX   OF  RICHMOND,   INDIANA 


INDIANA  MONUMENTS 


Monument  Sculptor 

Federal  Building,  south  fa- 
cade. Symbolic  figures 
cost  $45,000.  Justice, 
Literature,  Mechanics, 
Agriculture     j.  Massey  Rhinde 

"Justice  and  Mercy."  West 
court-room,  "An  Appeal 
to  Justice"    Artist,  W.  B.  Van  Ingen 

Federal  Building,  East 
court-room,  cost  $6000 

Ancient  Bookmarks,  Li- 
brary ceiling,  Federal 
Building 


MONUMENT 


Vice-President  Schuyler 
Colfax.  University  Park, 
dedicated  May  18,  1887.Lorado  Taft 

President  Benjamin  Harri- 
son. Dedicated  October 
27,  1908,  University 
Park    Charles  Henry  Niehaiw 

Depew      Memorial      Foun- 
tain.     University    Park. 
Dedicated     Sept.      13, 
1919.       In    memory    of  Sterling  Calder 
Dr.  Richard  J.  Depew      Architect,   Henry  Bacon 

Bronze  bas-relief'  entrance 
to  Burdsal  unit  City 
Hospital    Helene   Hibben 

Capitol  Building,  com- 
pleted October  2,  1888. 
Dedicated  1888 Architects.     Edwin     May. 

Vice-President    Thomas   A.     appointed      1877,      died 
Hendricks,      Capitol     iggo ;   Adolf   Scherrer 
grounds.  Dedicated  July 
1»  1890 Richard  Henry  Parks 

Governor  Oliver  P.  Mor- 
ton. Soldiers  and  bas- 
reliefs.  Dedicated  July 
23,  1907.  Capitol,  east 
entrance     Rudolph  Schwarz 

Bronze  bust  Robert  Dale 
Owen.  Dedicated  March 
8,  1911.  Capitol,  south 
entrance    Frances  Goodwin 

Bronze  bust  Colonel  Rich- 
ard Dale  Owen.  Dedi- 
cated June  9,  1913. 
Capitol,   first   floor Belle  Marshall  Kinney 

Eight   Allegorical    Statues. 

Rotunda   of  Capitol Alexander   Doyle 

Bronze    bust    Judge    Neal. 

State  Library,  Capitol .  .  Clara  B.  Leonard  Sorenson 

Cast  of  young  girl.  Capi- 
tol, second  floor 

Indian  and  Pioneer  Fig- 
ures. South  pediment, 
Capitol 

General  Henry  Lawton, 
Garfield  Park,  south  en- 
trance. Unveiled  May 
30,   1907    Andrew  O'Connor 


421 


ART  AND  ARTISTS  OF  INDIANA 


Monument  Sculptor 

Electrical  Fountains.  Gar- 
field  Park    Frederick  W.  Darlington 

Nathan  Morris  Fountain 
(drinking).  Massachu- 
setts Avenue  and  Wal-. 
nut    Street 

Milestone  Marker.  Old  Na- 
tional and  Michigan 
Roads,  E.  "Washington 
Street  and  Southeastern 
Avenue    Herbert  Foltz 

Bust  John  S.  Duncan. 
Law  Library,  Court- 
House Myra  R.  Richards 

"A    Cross    Forever    New" 

J.  D.  Forest  Lot.  Crown 
Hill  Rudolph  Schwarz 

National  Road  Marker, 
1806-1839.  State-House 
Grounds.  Erected  by 
Caroline  Scott  Harrison 
Chapter  D.  A.  R.,  Octo- 
ber 9,  1916 

National  Road  Fountain, 
1806-1839.  State-House 
Grounds.  Erected  by 
Caroline  Scott  Harrison 
Chapter,  D.  A.  R.  Cen- 
tennial Offering  Oct.  10,  Designer 
1916 Herbert   L.   Bass   &  Co. 

Statue  of  Liberty.  Ravens- 
wood  Broad  Ripple. 
Dedicated  July  4,  1918.  William  C.  Dickson 


TABLETS 

William  A.   Bell  Tablet  Sculptor 

"William  A.  Bell  School . . .  Clara  B.  Leonard  Sorensen 

Drinking  Fountain  and 
Bronze  Tablet.  Young 
"Women's  Christian  As- 
sociation. Gift  of  Arthur 
Jordan. 

Abraham    Lincoln.      South       . 

side    Claypool    Hotel.     Louise  Stewart 

Colonel  Eli  Lilly.     Cham- 
ber of  Commerce  Build-    ^     „   „  , 
ing    John  H.  Mahoney 

Four      Pioneer      Builders : 

John     Hampton     Smith, 

John    Brough,     "William 

N.     Jackson,     Chauncey 

Rose.     Erected  by  James 

J.  Turner,  Union  Station 
A.  Kiefer  Portrait  Tablet, 

Georgia      and      Capitol 

Avenue    Rudolph  Schwarz 

"James    Biddy,     Janitor," 

Shortridge  High  School. 

Erected     by     Shortridge 

High   School    Centennial 

Committee,  Oct.  10,  1916Clara  B.  Leonard  Sorengon 
Dr.    John    Stough    Bobbs' 

Medical     Library,    dedi- 
cated Oct,  11,  1917,  In- 


422 


INDIANA  MONUMENTS 

Place                                                TABLETS  Sculptor 
dianapolis     Public     Li- 
brary      Gutzon  Borglum 

Tuttle  Memorial,  Teachers' 
College.  Alabama  and 
23rd  Sts.    Erected  1916.Rena  Tucker  Eohlmann 

M.     H.     Spades,     Library, 

Branch  6,   Spades  Park.  George  Kessler 


Monument 

Jasper    Army  and  Navy.     Erected 

1894. 

KoKOMO    Soldiers' 

Liberty    Joaquin   Miller   Memorial 

Lincoln  Citt   Nancy   Hanks    John  O.  Meyenberg 

Sarah  Lincoln  Grigsby. 
Abraham     Lincoln,     1816- 

1830.      Site   of    Lincoln 

Cabin.      Dedicated    May 

24,  1917. 

LoGANSPORT Soldiers'    and   Sailors' Schuyler   Powell 

Marion   Soldiers',  three  bronze  fig- 
ures      Lorado  Taf t 

MiSHAWAKA    Soldiers'  and  Sailors'. 

Erected  1884. 
Michigan  City   "Victorious   Peace"    W.  R.  O'Donovan 

Winterbotham  Gift. 

Erected  1893   J-    Scott   Hawley 

Mt.   Vernon    Soldiers'    Rudolph  Schwarz 

MuNCiE     George    F.    McCullock Leonard  Crunelle 

New  Harmony    Thomas  Say 

NOBLESVILLE    Soldiers'  Shaft 

Erected   1868 
Plainfibld    "Van  Buren  Elm"  Tablet. 

Erected       by      Caroline 

Scott   Harrison    Chapter 

D.    A.    R.      October    14, 

1916 
^*^^     Frances   Slocum 

Dedicated  May  17,  1900 

PETERSBURG     Soldiers'  and  Sailors' willis^Tn  Wprridcrp 

Princeton   p.„,-i   t^j,-  ^",  f^  Berndge 

Ciyu    war Rudolph  Schwarz 

Soldiers'   Monument 

Rising  Sun    „  fj.^''^^^  ^^^^  Architects.    Rule    &   CJcle- 

Scott  County p?ill'%..=f  ^^'^ 

S~    ^z^lfftt 

William  H.  English. 

Erected    1891    John  E.  Mahoney 

South  Bend   Soldiers'. 

Bronze  Group. 
„,__        „  Dedicated  July,  1903   . .  Rudolph  Schwara 

Tkbrb  Haute   ^^^^  r   ^   Thompson. 

Public  Library    Alfred  N.  Austin 

Browning    Hands. 

In  Bronze. 

Fairbanks  Library    Harriet  Hosmer 

"Hebe."        Plaster     copy. 

Fairbanks  Library    . . .  .Thorvaldsen 
Giovanni       di       Bologna's 

"Mercury."  Bronze  copy. 

Tower       of       McKeen's 

Bank 

Soldiers'    Monument. 

Court-House  Square. ..  .Rudolph  Schwara 


423 


ART  AND  ARTISTS  OF  INDIANA 

Place  Monument  Sculptor 

Twin     Lakes     Monument   to    Indians, 

September   14,    1909 

ViNCENNBS     Soldiers'    Rudolph  Schwarz 

Warsaw    Cannon     Captured     during 

Civil  War 
Winchester Soldiers'    and   Sailors' A.  A.  McKaln 


424 


BIBLIOGRAPHY  OF  INDIANA  ARTISTS 

Adams,  J.  Ottis 

International  Studio,  vol.  22,  p.  ccxlix 

International  Studio,  vol.  31,  p.  xxiv — 111. 

International  Studio,  vol.  27,  p.  civ — 111. 

The  New  Era,  March  23,  1912,  p.  11 

The  Arts,  Jan.,  1895 

Brush  and  Pencil,  Jan.,  1906;  Feb.,  1903 

The  World  Today,  March,  1906 

The  Sketch-Book,  Jan.,  1906 

Indiana  Woman,  Feb.,  1899 

American  Art  Notes,  Feb.,  191O 

The  Reader  Magazine,  vol.  7 

Indiana  Book-Plates,  White 

Adams,  Wayman 

American  Art  News,  Aug.  17,  1918 
The  Nation,  19I8 
American  Art  News,  Jan.  19,  I9I8 
American  Art  News,  Feb.   16,  1918 
American  Art   News,   Feb.   9,   1918 
American  Art  News,  Feb.  23,  191 8 
American  Art  News,  Oct.   12,   1918 
American  Art   News,   Nov.   2,   191 8 
American   Art   News,   Nov.    9    1918 
American  Art  News,  Nov.   I6,  1918 
American  Art  News,  Nov.  23,  I9I8 
American  Art  News,   Feb.    1,   1919 
American  Art  News,  Feb.   15,  1919 
American  Art  News,  Nov.   15,  1919 
American  Art  News,  Dec.   27,   1919 
The  American  Magazine  of  Art,  Jan.,  1919 
The  American  Magazine  of  Art,  April,  1919 
The  Nation,  March  15,  1919 
International  Studio,  Nov.,  1914 
International  Studio,  Nov.  1917 

425 


ART  AND  ARTISTS  OF  INDIANA 

International  Studio,  June,  1918 

International  Studio,  March,  1919 
Andersen,  Martinus 

International  Studio,  March,   1914 
Baker,  George  H. 

American  Art  News,  July  13,  1918 

American  Art  News,  Dec.  28,  1918 
*Baker,  Martha  S. 

Brush  and  Pencil,  Jan.,  1899 

American  Art  News,  Feb.  6,  1909 

Monumental  News,  March,   1914 

Ball,  Caroline  Peddle 

Arts  and  Decoration,  Oct.,  1911 

*Ball,  L.  Clarence 

The  New  Era,  Feb.  3,  1912,  p.  10 
Indiana  Book-Plates,  White 
American  Art  News,  Oct.  16,  1915 

Barnard,  George  Grey 

Outlook,  pp.  655-656,  Nov.  28,  1908 

Outlook,  pp.  198-204,  Jan.  27,  1915 

Craftsman,  Vol.  15,  pp.  207  and  570-580,  Dec,  1908 

World's  Work,  Vol.  17,  pp.  11256-69,  Feb.,  1909 

World  Today,  Vol.  16,  pp.  273-280,  March,  1909 

Review  of  Reviews,  Vol.  38,  pp.  689-692,  Dec,  1908 

Harper's  Weekly,  Vol.  60,  p.  299,  March  27,  1915 

Internatonal  Studio,  Vol.  36,  Sup.  39-48,  Dec,  1908 

American  Art  News,  Dec.  12,  1914 

American  Art  News,  March  24,  1917 

American  Magazine  of  Art,  Jan.,  1918 

Baumann,  Gustave 

American  Art  News,  Feb.  12,  1916 

Art  and  Archaeology,  Nov.  and  Dec,  1918 

Chicago  Art  Institute  Bulletin,  Jan.,  1919 

Baus,  Simon  P. 

International  Studio,  Vol.  55,  Sup.  128 

*  Deceased 

426 


BIBLIOGRAPHY 

American  Art  News,  Nov.  6,  1915 
Am.  Art  News,  March  29,  1919 

BoBBS^  Ruth  Pratt 

American  Art  News,  Jan.  8,  1916 

Brazington,  William  C. 
Craftsman,  Vol.   15,  8 

Britt,  Ralph  M. 

American  Art  News,  March  30,  1918 

Brooks,  Professor  Alfred  M. 
Art  and  Progress,  July,  1914 

Art  and  Archaeology,  Jan.,  1916;  March,  1916;  June, 
1916 

Brown,  Francis  F. 

American  Art  News,  March  30,  1918 
American  Art  News,  March  29,  1919 
American  Art  News,  Dec.  28,  1918 

Brown,  Harold  Haven 

School  Arts  Magazine,  May  9,  1913;  Feb.,  1914 
School  Arts  Magazine,  May,  1914;  June,  1915 
Arts  and  Decoration,  Sept.,  1913 
American  Art  News,  May  23,  1914 

BuNDY,  John  Elwood 

Outlook,  June  27,  1914,  pp.  475-479 
The  New  Era,  Feb.  17,  1912,  p.  11 
Indiana  Book-Plates,  White 
Art  Interchange,  Vol.  51,  p.  85 
J.  W.  Young,  1911 
American  Art  News,  March  31,  1917 
American  Art  News,  April  6,   1918 
American  Art  News,  July   13,  1918 
American  Art  News,  Dec.  28,   1918 
American  Art  News,  April  5,  1919 
Chicago  Art  Institute  Bulletin,  Feb.,  1919 

BuRKE>  Robert  £. 

Education,  Vol.   36,   pp.   493-503,   April,   I916 

427 


ART  AND  ARTISTS  OF  INDIANA 

Caliga,  Isaac  Henry 

New  England  Magazine,  Vol.  32:110 
New  England  Magazine,  March,  1905 

Chase,  William  M. 

Godey's  Ladies'  Book,  Vol.  130,  p.  291 

Arts  and  Decoration,  Vol.  2,  pp.  285-306,  1912 

Craftsman,  Vol.  18,  p.  33,  1910 

Craftsman,  Vol.  9,  p.  752 

Harper's,  Vol.  78,  p.  549,  1889 

Harper's,  Vol.  113,  p.  698,  1906 

Harper's,  Vol.  110,  pp.  436-437,  1905 

International  Studio,  Vol.  21,  pp.  151-158,  1900 

International  Studio  Vol.  34,  p.   36,  1912 

International  Studio,  Vol.  36,  p.  137 

International  Studio,  Vol.  37,  pp.  77,  244 

International  Studio,  Vol.  89,  pp.  29,  36,  1909 

House  Beautiful,  Vol.  23,  p.  11 

House  Beautiful,  Vol.  25,  p.  50 

Critic,  Vol.  48,  p.  515,  June,  1906 

Century,  Vol.  75,  p.  485,  Feb.,  1908 

Century   (ill.),  June,  1909 

Century  (ill.).  May,  1911 

Century   (ill.),  April,  1912 

Century   (ill.),  March,  1913 

Putnam's,  Vol.  5,  pp.  372-373,  Dec,  1908 

Outlook,  Vol.  93,  p.  692,  Nov.,  1908 

Review  of  Reviews,  Vol.  36,  pp.  693-694,  Dec,  1907 

School  Arts  Book,  Feb.,  1913 

School  Arts  Magazine,  Nov.,  1915;  Feb.,  1916 

Art  Journal,  Vol.  343,  1879 

American  Art  Review,  pp.  91-135,  1881 

American  Art  News,  March  2,  1912;  Oct.  12,  1912 

Benjamin,  Our  American  Artists,  1886,  p.  59 

Hartman,    History    of    American   Art,    1902,    Vol.    1, 

p.  226 
McSpadden,   Famous    Painters   of   America,    1907,   p. 

327 
Isham,  History  of  American  Painting,  1915,  pp.  363- 

368-383  et  seq.,  522-526 
American  Art  News,  Nov.  4,  191 6 
American  Art  News,  Jan.  6,  1917 
American  Magazine  of  Art,  Dec,  1916 

428 


JAMES  WHITCOMB  RILEY 


MYRA  R.  RICHARDS 


BIBLIOGRAPHY 

Academy  Notes^  Oct.,  1916 

Metropolitan  Bulletin,  Dec,  191 6 

International  Studio,  Feb.,  1917 

Roof,  The  Life  and  Art  of  William  Merritt  Chase 

Clawson,  Charles  Howard 
The  New  Era,  1912 

Coats,  Randolph 

American  Art  News,  Dec.  28,  1918 

Conner,  Charles  S. 

Art  Interchange,  Vol.  51,  p.  85 

COUDERT,    AmALIA    KuSSNER 

Century,  Vol.  66,  pp.  712-713,  Sept.,  1900 

Illustrated  American,  Vol.  20,  p.  509;  Vol.  24,  p.  328 

Ladies'  Home  Journal,  Oct,  1895,  p.  7 

Critic,  Vol.  39,  p.  397 

Smith's  History  of  Indiana,  p.  872 

House  Beautiful,  Sept.,  19OI 

Cox,  Jacob 

Sulgrove,  Indianapolis  and  Marion  County 
Dunn,  Greater  Indianapolis 
Wallace,  Autobiography 
Sentinel,  editorial  June  9,  1852 

De  Haven,  Frank 

American  Art  and  Artists,  pp.  112-115,  230-232 

American  Art  News,  Dec.  8,  1917 

American  Art  News,  March  8,  1919 

St.  Louis,  Mo.,  Museum  Catalog,  Oct.,  191 6 

Dessar  L.  p. 

Brush  and  Pencil,  Vol.  5,  p.  97,  1899 
The  Artists,  Vol.  24,  p.  LIV 
Harper's,  Vol.   122,  p.  282 
International  Studio,  Vol.  27,  p.  LXV 

Forsyth,  William 

International  Studio,  Vol.  22.  p.  CCXLIX 
International  Studio,  Vol.  27,  p.  CVI 

429 


ART  AND  ARTISTS  OF  INDIANA 

International  Studio,  Vol.  52,  p.  15,  March,  1914 

International  Studio,  Vol.  55,  p.  128,  June,  1915 

The  New  Era,  March  9,  1912,  p.  11 

The  Arts,  Jan.,  1895 

Collector  and  Art  Critic,  Nov.  191 6,  pp.  24-26 

Brush  and  Pencil,  Dec,  1898 

American  Art  News,  Jan.  17,  1914 

American  Art  News,  Nov.  24,  1917 

American  Art  News,  Feb.  16,  1918 

American  Art  News,  Feb.  1,  1919 

American  Art  News,  March  29,  191 9 

The  Reader  Magazine,  Vol.  7,  p.  622 

Arts  and  Decoration,  Sept.,  1913 

Garber,  Daniel 

Maitres  Contemporains,  Vol.  59,  p.  10 
International  Studio,  Vol.  46,  p.  XXXIX 
American  Art  News,  Dec.  18,  1915 
American  Art  News,  Dec.  15,  1917 
American  Art  News,  April  6,  1918 
American  Art  News,  Nov.  23,  I9I8 
American  Art  News,  Feb.  12,  1919 
American  Art  News,  Feb.  15,  1919 
American  Art  News,  March  15,  I919 
American  Art  News,  Dec.  27,  1919 

GiRARDiN,  Frank  J. 

Art  Interchange,  Vol.  51,  p.  85 

Graf,  Carl 

American  Art  News,  Feb.  16,  1918 
American  Art  News,  March  30,  1 91 8 
American  Art  News,  March  29,  I919 

Grafton,  Robert  W. 

The  Outlook,  Vol.  92 
New  Era,  Feb.  24,  1912,  p.  11 
American  Art  News,  (ill.)  Jan.  6,  1912 
American  Art  News,  Dec.  18  1915 
American  Art  News,  Dec.  21,  19I8 
American  Art  News,  March  15,  1919 
American  Art  News,  March  29,  1919 

430 


BIBLIOGRAPHY 

American  Art  News,  Aug.  l6,  1919 

Art  Notes,  Maebeth's  Gallery,  Dec.,  1911 

Gruelle,  Richard  B. 
The  Arts,  1895 

The  New  Era,  April  6,  1912,  p.  10 
Indiana  Book-Plates,  White 
American  Art  and  Artists  (ill.),  p.  97 
American  Art  News,  Nov.  14,  1914. 
American  Art  News,  Nov.  21,  1914 

HiGGiNS,  Victor 

American  Art  News,  Dec.  22,  1917 
American  Art  News,  Feb.  2,  1918 
American  Art  News,  Feb.  9,  1918 
American  Art  News,  Feb.  23,  1918 
American  Art  News,  April  1,  1919 

Henshaw,  Glen  Cooper 

American  Art  News,  April  19,  1913 

American  Art  News,  Oct.  15,  1913 

American  Art  News,  Dec.  13,  1913 

American  Art  News,  May  2,  1914 

Pennell's  Lithography  and  Lithographers,  p.  225 

IzoR,  Estelle  Peel 

American  Art  News,  April  1,  191 6 
General    Federation    of    Women's    Clubs     Magazine, 
March,  1915 

Ketcham,  Sue 

American  Art  News,  March  10,  1917 

King,  Martha  Feller 

School  Arts  Book,  Dec,  1911 

School  Arts  Magazine,  Nov.  1912,  p.  148 

KOHLMANN,    ReNA   TuCKER 

Arts  and  Decoration,  April,  1913 
American  Art  News,  April  10,  1909 
American  Art  News,  May  23,  1914 
American  Art  News,  Oct.    12,  1918 
American  Art  News,  March  8,  1919 

431 


ART  AND  ARTISTS  OF  INDIANA 

American  Art  News,  May   10,  1919 
National  Art  Club  Catalog,  June,  1914< 

KoTz,  Daniel 

New  Era,  March  30,  1912,  p.  10 

Lauter,  Flora 

Artists'  Guild  Catalogue,  p.  57 

Love,  John  Washington 

Low,  Scribner's,  June,  1908 

Makielski,  Leon  A. 

The  New  Era,  Feb.  10,  1912,  p.  10 

McCoRMicK,  Howard 

Engraving  "A  Hopi  Chief,"  Scribner's,  July,  1911,  p. 

125 
Engraving  "The  Field  of  Art,"  Scribner's,  Feb.,  1914, 

p.  274 
American  Magazine  of  Art,  March  30,  1918 

McCuTCHEON,  John  T. 

The  Practical  Work  of  a  Cartoonist 

Brush  and  Pencil,  March,  1903 

The  Reader  Magazine,  Vol.  3,  pp.  110,  628,  638 

The  Reader  Magazine,  Vol.  4,  p.  653 

Miller,  John  R. 

Brush  and  Pencil 

Newman,  Anna 

The  New  Era,  June  8,  1912,  p.  10 
Indiana  Book-Plates,  White 
Catalogue  Exhibit,  Washington,  D.  C,  1913 
American  Art  News,  Dec.  28,  1918 

OvERBECK,  Elizabeth  G.,  Mary  F.,  Hannah  B. 
American  Magazine  of  Art,  June,  I9I8 

Perkins,  Lucy  Fitch 

School  Arts  Magazine,  Dec,  1914,  p.  257 

432 


BAS-RELIEF  JAMES  WHITCOxMB  KiLEY 


HELENE  HIBBEN 


BIBLIOGRAPHY 

Powers,  Hiram 

Nation,  Vol.  97,  p.  587 
Living  Age,  Vol.  15,  p.  95 
Living  Age,  Vol.  42,  p.  569 
Electric  Magazine,  Vol.  71,  p.  1028 
New  England  Magazine,  Vol.  20,  p.  519 

Prasuhn,  John  G. 

Scientific  American,  Sept.  7,  1912 
Monumental  News,  Oct,,   1912;  April,  191 6 
Fine  Arts  Journal,  April,  1917 

Reed,  Peter  Fishe 

Indiana  School  Journal,  1861 

Richards,  Myra 

American  Art  News,  Dec.  26,  1918 
American  Art  News,  Dec.  7,  1918 

Richards,  Samuel 

The  Reader  Magazine,  Vol.  2,  p.  17 

Rogers,  Bruce 

Modern  Art,  Spring  number,  1903,  p.  4 

Modern  Art,  Autumn  number,  1903,  p.  14 

The  American  Magazine  of  Art,  Feb.,  1918,  p.  l6l 

Ross,  Frederick  W. 

American  Institute  of  Architects,  Brooklyn  Chapter 
The  House  Beautiful,  Dec,  1913,  pp.  4-7 

Rush,  Olive 

Woman's    Home    Companion,    April,    1912,    Vol.    39j 

p.  20 
Indiana  Book-Plates,  White 
Palette  and  Pencil,  Feb.,  1910,  p.  98 
Arts  and  Decoration,  Dec,  1911^  P-  50 
American  Art  News,  Nov.  22,  1913 
American  Art  News,  Feb.  16,  1918 
American  Art  News,  Oct.  26,  1918 
American  Art  News,   Feb.    1,   1919 
American  Art  News,  March  29,  1919 

433 


ART  AND  ARTISTS  OF  INDIANA 

American  Art  News,  April  5,  1919 

Annual  Report,  Boston  Museum,  Dec.,  1913 

Scott,  Frank  Edwin 

International  Studio,  Vol.  44,  pp.  110-118 

Scott,  William  E. 

American  Art  News,  May  23,  1914,  p.  7 

ScuDDER,  Janet 

International  Studio,  Feb.,  1910 

International  Studio,  Vol.  39,  pp.  LXXXI-LXXXVIII 

International  Studio,  Vol.  58,  Sup.  96,  May,  191 6 

International  Studio,  Vol.  39,  sup.*  814 

House  Beautiful,  June,   1914,  p.   11 

American  Art  News,  Nov.  8,  1913,  p.  6 

American  Art  News,  Jan.,  1914 

American  Art  News,  Oct.  2,  1915,  p.  1 

American  Art  News,  Dec.  8,  1917 

American  Art  News,  Jan.  9,  1918 

American  Art  News,  April  27,  1918 

Craftsman,  Vol.  26,  p.  37,  April,  1914 

Craftsman,  Vol.  16,  p.  512 

Craftsman,  Vol.  18,  p.  403 

Good  Furniture,  Aug.,  1915 

Arts  and  Decoration,  Feb.,  1916 

Monumental  News,  March,  191 6 

Harper's  Weekly,  Vol.  62,  pp.  370-371;  April  8,  1916 

*Seegmiller,  Wilhelmina 

School  Arts   Magazine,  May  9,  1913 

School  Arts  Magazine,  Sept.  9,  1913,  p.   12,  Vol.  81, 

p.  82 
School  Arts  Magazine,  April,  1915 
American  Art  Annual,  Vol.   11,  pp.  396-397 

Selleck,  Roda  E. 

The  School  Arts  Book,  March,  1912 

Soldiers'  Monument,  Dedicated  May  15,  1902 

Illustrated   American,   Vol.    19,  pp.   33^-335,  picture, 
p.  33Q 

*  Deceased 

434 


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The   greatest   of   soldiers'    monuments:    poem,    Riley. 
Modern  Art,  94< 

Indianapolis  News,  Sept.  1,  1893,  p.  2 
Indianapolis  News,  Sept.  4,  1893,  p.  1 
Indianapolis  News,  Sept.  5,  pp.  9-10,  1893 

SoRENSEN,  Clara  Barth  Leonard 
Brush  and  Pencil,  July,  1903 
Brush  and  Pencil,  Aug.,  1903 

Stark,  Otto 

The  Arts,  Jan.,  1895 

The  New  Era,  March  2,  1912,  p.  11 

Indiana  Book-Plates,  White 

Modern  Art,  Vol.  Ill,  p.  53 

International  Studio,  Vol.  52,  Sup.  l6,  March,  1916 

International  Studio,  Vol.  55,  Sup.  66,  April,  1915 

Printing  Art,  May,  1914 

American  Art  News,  March  27,  1915 

American  Art  News,  Nov.  17,  1917 

American  Art  News,  Dec.  15,  1917 

American  Art  News,  Feb.   16,  1918 

American  Art  News,  Feb.  1,  1919 

American  Art  News,  March  29,  1919 

The  Reader  Magazine,  Vol.  7,  p.  568 

Steele,  Brandt 

Brush  and  Pencil,  July,  1899,  p.  215 

Steele,  Helen  McKay 

Brush  and  Pencil,  July,  1899,  P-  215 

Steele,  T.  C. 

International  Studio,  Vol.  31,  p.  XXLV 
International  Studio,  Vol.  22,  p.  CCXLIX 
International  Studio,  Vol.  27,  p.  CV 
International  Studio,  Vol.  42,  Sup.  26 
International  Studio,  Vol.  55,  Sup.  128,  June,  1915 
The  Arts,  Jan.,  1895 
The  New  Era,  March  16,  1912,  p.  11 
The  Outlook,  June  24,  1911 
American  Magazine  of  Art,  Aug.  1917 
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435 


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American  Art  News^  Feb.  28,  1914 

American  Art  News,  Dec.   15,  1917 

American  Art  News,  Feb.  16,  1918 

American  Art  News,  Feb.  1,  1919 

American  Art  News,  March  29,  1919 

Indiana  Book-Plates,  White 

The  Reader  Magazine,  Vol.  7,  p.  604 

Printing  Art,  May,  1914 

Indianapolis  Star,  May  1,  1909^,  p.  6 

Indiana  University  Alumni  Quarterly,  July,  1916 

Sharp,  Julia  G. 

The  New  Era,  May  25,  1912,  p.  10 
Indiana  Book-Plates,  White 

SwoPE,  H.  Vance 

Craftsman,  Feb.,  1910 

Vawter,  Will 

The  Reader  Magazine,  Vol.  9,  pp.  116-117 

The  Reader  Magazine,  Vol.  10,  p.  352 

The  Reader  Magazine,  Vol.  10,  p.  187 

The  Reader  Magazine,  Vol.  4,  pp.  538,  539,  692,  693 

Walker,  Ferdinand  G. 

The  New  Era,  April  13,  1912,  p.  10 

Wheeler,  Clifton  A. 

International  Studio,  Vol.  52,  Sup.  15,  March,  1914 
American  Art  News,  Feb.  16,  1918 
American  Art  News,  Feb.  1,  1919 
Amr;rican  Art  News,  March  29,  1919 
American  Art  News,  Nov.  1,  1919 

Whitridge,  Thomas  W. 

The  Outlook,  March  12,  1910 

WiLDHACK,  Robert  J. 

International  Studio,  Vol.  34,  p.  CXI 

Winter,  George 

Past  and  Present  of  Tippecanoe  County 

436 


BIBLIOGRAPHY 

Magazine  of  History,  1905 
Historic  Indiana,  Levering 

YoHN,  Frep  C. 

Century,  March,  1912,  p.  762 
Century,  Aug.  1912,  p.  606 
Scribner's,  May,  1912,  p.  569 
Scribner's,  Sept.,  1912 
Scribner's,  Nov.,  1912,  p.  577 
Scribner's,  March,  1913 
Scribner's,  July,  1913,  p.  89 
Scribner's,  Sept.,  1915 
Brush  and  Pencil,  July,  1908,  p.  l6l 
American  Art  News,  Oct.  12,  1918 

Zaring,  Louise  A. 

The  New  Era,  May,  1912,  p.  10 
Indiana  Book-Plates,  White 
American  Art  News,  March  29,  1919 


437 


INDEX 


Abbott,  William,  353 

Adams,  J.   Ottis,   22,   156,   159, 

160,    163-170,    175,    181,    213, 

227,   239,   272,  300,   302,   353, 

425 
Adams,  Wa5rman,  181,  242,  244- 

247,  353,  417,  425 
Adams,  Winifred  B.,  167,  168, 

229,  272,  302,  354 
Adsit,  Mrs.  Nancy  H.,  218 
Albright,  Adam  Emory,  308 
Alden,  Ruth,  354 
Alexander,  Georgia,  264 
Allen,  Dr.  H.  R.,  240 
Allison,   William   M.,   239,  242, 

354 
American  Art  Union,  81,  82 
Andersen,    Martinus,    181,    229, 

242,  249,  251,  354,  426 
Angell,  Clare,  354 
Armstrong,  Voyle  N.,  354 
Arter,  Charley,  354 
Austin,  Alfred  N.,  423 

Bacon,    Elizabeth    Driggs,    237, 

354 
Bacon,  Henry,  113,  421 
Bacon,  Louis,  264 
Bade,  Francis,  355 
Bade,  Mrs.  Francis,  355 
Bailey,  Henry  Turner,  275 
Baker,    George    H.,    276,    355, 

426 
Baker,  Martha  S.,  355 
Ball,  Mrs.  C.  Gordon,  41,  43 
Ball,  Caroline  Peddle,  312,  331- 

334,  355,  426 
Ball,  L.  Clarence,  289-295,  355, 

426 


Ballard,  Harry  W.,  240,  355 
Banta,  David  D.,  8 
Banvard,  John,  34-37,  92,  356 
Barnard,  George  Grey,  343-347, 

356,  426 
Bates,  Dewey,  113,  356 
Bates,  W.  O.,  118,  131 
Barrett,  Carl  A.,  356 
Bartlett,  M.  Ellsworth,  356 
Baumann,    Gustave,    210,    309, 

310,  356,  426 
Baus,  Simon,  181,  242,  247,  248, 

356,  426 
Beachey,  Margaret,  357 
Beard,  J.  B.,  82 
Beecher,   Henry   Ward,  63,  69, 

86,  88 
Berkey,  Lena,  8 
Berrldge,  William,  423 
Berry,  Wils,  357 
Berthelsen,  Johann,  357 
Biddle,  Horace  P.,  42,  49,  89 
Bierstadt,  Albert,  82,  117 
Bigelowe,  Daniel  F.,  357 
Bigger,  Samuel,  80 
Birch,  T.,  82 

Birge,  Mary  Thompson,  357 
Birren,  J.  P.,  308 
Bitter,    Karl,   319,   320,  325 
Black,  Richard,  357 
Blackford,  Isaac,  14 
Blair,  Marie,  358 
Blake,  James  E.,  358 
Blakelock,  Ralph  A.,  215 
Blosser,   Merrill  C,  358 
Boardman,  Emma  L.,  119 
Bobbs,  Dr.  John  S.,  74 
Bobbs,    Ruth    Pratt,    237,    358, 

427 


439 


INDEX 


Bock,  Richard  W.,  421 
Bonaparte,  Prince  Jerome,  7 
Booker,  Samuel  P.,  10 
Boon,  Daniel,  11 
Booth,  Franklin,  358 
Booth,  Hanson,  242,  358 
Borglum,  Gutzon,  423 
Bowles,  J.  M.,  189,  192 
Bowles,  Janet  P.,  358 
Boyd,  Lula  S.,  358 
Bradshaw,  Mrs.  Esther  M.,  219 
Brazington,    William     C,    254, 

255,  359,  427 
Brehm,  George,  359 
Brehm,  Worth,  242,  359 
Brewer,   Emily,  359 
Brewer,  Mary  E.,  240 
Brewster,  George  T.,  420 
Britt,  Ralph  M.,  359,  427 
Brown,  Bazil,  68 
Brown,  Charles  F.,  160 
Brown  County,  133,  209,  306-311 
Brown,  Ethel,  359 
Brown,  Ephriam,  61,  62,  68 
Brown,  Florence  Bradshaw,  395 
Brown,  Francis  F.,  359,  427 
Brown,  Harold  Haven,  226,  240, 

359,  411,  427 
Brown,   Harrison   Paul,  360 
Brown,  Imogene  Kevin,  360 
Brownlee,  Cornelia  A,,  360 
Bruce,  Blanch  Canfield,  360 
Bulson,  Dr.  John  E.,  Jr.,  301 
Bundy,  John  E.,  227,  271,  273, 

276,  280-287,  360,  427 
Burgmann,     William     H.,    249, 

361 
Burke,  Robert  E.,  361,  427 
Burgess,  Daisy,  119 
Burnet,  Stephen,  14 
Burwell,  Mrs.  Kate,  361 
Butler,  Annie,  119 
Bybee,  Mrs.  Addison,  119 

Calder,  Sterling,  421 
Caliga,   Isaac   Henry,  252,  361, 
428 


Carter,  Harvard  J.,  361 
Carey,  Ruth,  240 
Carlisle,    Harry,   242 
Carnahan,  A.  G.,  83 
Casanges,  Margaret,  249 
Cassady,  E.  Chase,  249,  361 
Cassady,  U.  G.,  361 
Chandler,  Clyde  G.,  361 
Chandler,  H.  C,  118 
Chandler,  John,  83 
Chapplesmith,  John,  23,  24 
Chase,   William  M.,  74,  87,  88, 

117,  90,  132-143,  172,  232,  243, 

244,  272,  361,  428 
Chicago  Art  Institute,  33,  122 
Church,  F.  E.,  82,  117 
Cincinnati  Art  Academy,  54,  55, 

334 
Cincinnati  Art  Union,  81,  83 
Clark,  Bergie  C,  362 
Clark,  Gen.  George  Rogers,  11, 

206 
Clark,  John  S.,  193 
Clark,  Virginia  Keep,  237,  239, 

362 
Clawson,   Charles   H.,  276,  362, 

429 
Clusmann,  William,  363 
Coats,      Randolph,      249,     363, 

429 
Cofield,  Myrtle  H.,  363 
Cole,  Blanch  D.,  363 
Coleman,  Glen  O.,  252,  363 
Comingore,   Ada   M.,   231,   237, 

363 
Compera,  Alexis,  363 
Comstock,  Mrs.  Paul,  269 
Conklin,  Julia  S.,  339,  340 
Connaway,  Jay,  249,  363 
Conner,  Charles,  272,  276,  278- 

281,  363,  429 
Conner,  Albert  C,  364 
Cooper  Institute,  76 
Coots,    Howard    M.,    229,    249, 

364 
Coudert,  Amalia  Kussner,  312- 

314,  364,  429 


440 


INDEX 


Cosmopolitan  Art  and  Literary 

Association,  82,  83 
Coughlen,  William,  227 
Cox,  David,  79 
Cox,  Jacob,   13,  62,  65,  73,   78- 

96,  99,  101,  106,  109,  119,  172, 

364,  417,  429 
Craft,  364       ' 
Crosier,  Sid,  364 
Craighead,  Samuel,  75,  76 
Cregg,  A.  W.,  276 
Crunelle,  Leonard,  423 
Culbertson,   Mary   H.,   74,    119, 

365 
Culp,  S.  C,  83 
Curry,  Anna,  8 

Dahlgreen,  Charles  W.,  308 
Darlington,   Frederick   W.,  422 
Davidson,  Oscar  L.,  365 
Davisson,   Homer   G.,  301,  308, 

365,  410,  419 
Dean,  David,  365 

De   Hart,  Richard,  49 
De  Haven,  Frank,  365,  429 
Deming,  Dr.   Ezra,  49 
Dennis,  James  M.,  13,  109-112, 

119,  365,  417 
Dessar,    Louis    Paul,   255,    256, 

365,  429 
Dillon,  John  P.,  42 
Dobbs,  J.,  366 
Doel,  Reed,  366 
Donaldson,  Alice  Willetts,  366 
Douglass,  Jane,  12 
Doyle,  Alexander,  422 
Dryer,  Alice  P.,  340 
Duclos,  Peter,  31 
Duden,  Elsie,  242 
Dunlap,  Anna,  219,  231 
Dunlap,    James    B.,    66-68,    69, 

366 
Dunn,  Jacob  P.,  41,  66 
Dunn,  John  Gibson,  62,  80 
Durand,  A.  B.,  82 
Duveneck,     Frank,     117,     136, 

138 


Eaton,    Joseph    O.,   65,    69,   89, 

90,  109,  134,  287,  366 
Eaton,  Wyatt,  113,  117 
Ebert,  William,   119 
Eggemeyer,    Maude    Kaufman, 

276,  366 
Elliott,  William  J.,  83 
Ely,  Donald  H.,  366 
Emerich,    Harvey,   242,   367 
Engle,  Harry  L.,  308,  367 
Evans,  De  Scott,  50-53,  367 
Everts,  Dr.  Orpheus,  367 
Eyden,  William  T.,  Jr.,  276,  367 
Eyden,  William  T.,  Sr.,  276, 367 

Fairbank,  Mrs.  Clark,  301 
Falls,  Charles  B.,  367 
Ferry,  Mrs.  A.   E.,  337 
Ferrel,  Dr.  Robert  O.,  49 
Fetsch,  C.  P.,  367 
Fiscus,  Charles  J.,  118,  121,  124, 

367 
Fisk,  Stella,  368 
Fitch,   Florence,  368 
Fitch,  Mary,  368 
Fletcher,  Albert  E.,  219,  227 
Fletcher,  Calvin  I.,  119 
Fletcher,  H.  A.,  83 
Fletcher,    Mrs.    Laurel    Locke, 

219 
Foltz,  Herbert,  422 
Forgy,  John  D.,  368 
Forkner,   Edgar,  276,  368 
Forsland,  Hjalmar,  118 
Forsyth,    Mrs.    Alice    A.,    178, 

368 
Forsyth,  William,  22,  118,  119, 

131, 156,  159,  170-183,  »22,  227 

234,  239,  273,  368,  429 
Foster,   Ben,   215 
Foster,  Ernest  B.,  240 
Foulke,  Mary  T.,  276 
Foulke,  William  Dudley,  269 
Fox,  William  Henry,  226 
Eraser,  Henry  S.,  231 
Frategeot,   Mrs.    Nora,  20,  32 
Freeman,  A.  W.,  14,  15 


441 


INDEX 


Freeman,    W.    R.,    12,    13,  369, 

417 
Freidley,  Durr,  369 
Fry,  John  Henning,  369 
Fry,    Laura   A.,   229,   305,   306, 

369,  410 
Fult(Mi,  Jane  Louise,  369 


Galloway,  Walter,  369 
Ganiere,  George  E.,  419 
Garber,  Daniel,  253,  369,  430 
Garland,  Hamlin,  160,  161 
Geiger,   Nicholas,  420 
Gifford,   S.   R.,  82 
Gilbert,    Manson,  370 
Gillilan,   Strickland,   269 
Girardin,  Frank,  272,  276,  370, 

430 
Gladding,  Frances  M.,  249 
Glessing,     Thomas     B.,     69-72, 

370 
Godfrey,  Francis,  43,  47 
Goodwin,  Frances,  331,  339-341, 

370,  421 
Goodwin,  Helen  M.,  303,  371 
Gookins,  James  F.,  84,  115-121, 

173,  371 
Gookins,  S.  B.,  115 
Gordon,  Saint  Clair,  371 
Goth,  Marie,  349,  371 
Graf,  Carl  C,  181,  229,  248,  249, 

371,  430 
Grafton,    Robert    W.,    297-299, 

371,  430 
Grant,  Gen.  U.  S.,  16 
Graves,  Carrie,  119 
Gray,  Marie  C,  248,  249,  372 
Greenwood,  Miles,  80 
Griffith,  Helene,  372 
Griffith,  Louis  O.,  308,  318 
Griffith,   Rosa  B.,  372 
Griswold,  Bert  J.,  372 
Gruelle,  John,  196,  372 
Gruelle,    Justin    C,    197,    242, 

372 
Gruelle,    Richard    B.,    87,  159, 

183-197,  222,  229,  272,  372,  431 

442 


Guernsey,  Eleanor  L.,  311,  341, 

373 
Guffin,  Mrs.  Lotta,  90,  119,  373 
Guldin,  Addie  B,  340 

Hadley,  Alice  R.,  240 
Hadley,  Paul,  249,  373 
Hafen,   John,   307 
Hager,  Luther  G.,  373 
Hager,  John  R.,  373 
Hagerman,  Worthington  E.,  373 
Haldeman,  M.  O.,  373 
Hake,  O.  E.,  308 
Hamilton,  Agnes,  229,  373 
Hamilton,  Jessie,  229,  302,  373 
Hamilton,  Norah,  302,  373 
Hamman,  Grace,  374 
Hammond,  Abram  A.,  74 
Hanna,  Hugh  H.,  227 
Harding,  Chester,  10,  11,  374 
Hardwick,  John  W.,  249,  374 
Harris,  India  C,  227 
Harris,  James   F.,  92-94 
Harrison,  Christopher,  6-10 
Harrison,  Gen.  William  Henry, 

13,  74 
Hartman,  William  A.,  374 
Hartrath,  Lucie,  308 
Harvey,  Jeanette  P.,  374 
Hasselman,  Anna,  237,  374 
Haubrick,    Edward,    242,    249, 

374 
Hausdorfer,    Richard    B.,    249, 

374 
Hawkins,  Harry,  34,  374 
Hawley,  J.    Scott,  423 
Hays,  Barton  S.,  13,  72-74,  109, 

113,  133,  172,  284,  374,  417 
Haywood,  Florence,  231 
Hendricks,  Bessie,  239,  241,  375 
Henkel,  Anna  A,,  375 
Henshaw,    Glen    C,    249,    250- 

375,  431 
Herold,  Don,  375 
Herold,  Katharine  B.,  375 
Herrick,   Hugh   M.,  249,  375 
Herron,  John,  223,  224 


INDEX 


Hess,  Herbert,  188 
Hetherington,   F.   H.,   118,   119, 

131,   222 
Hibbard,  Frank  C,  419 
Hibben,   Helene,   182,  239,  341, 

342,  375,  421 
Hibben,    Thomas    E.,    130,    131, 

219,  222,  376 
Higgins,  Victor,  376,  431 
Hill,  John  B.,  74,  376,  417 
Hilliard,  Harry,  15,  376 
Holcomb,    J.    Irving,    225 
Holcomb,  J.  Irving  (prize),  246 
Holland,  Marie,  376 
Holliday,  Robert  C,  376 
Holley,    William    A.,   276,   376 
Honig,  George  H.,  377,  418 
Hosford,  Lindley,  377 
Hosmer,    Harriet   G.,  221,   311, 

423 
Hubbard,  F.  McKenney,  337 
Hughes,  Edith  R.,  377 
Hyde,  Emily  GriflSn,  303,  337 
Hyde,  Rev.  N.  A.,  219,  227 

Igoe,  Martin,  83 
Indiana  Artists'  Traveling  Ex- 
hibit, 276,  277 
Indiana  Federation  of  Women's 

Clubs,  277,  339 
Indiana  State  University,  25 
Indianapolis  Art  Society,  83 
Ingerle,  Rudolph  F.,  308 
Ingraham,  Mrs.  Ellen  M.,  337 
Ingraham,  Lena  L.,  337 
Inness,  George,  82,  196,  287 
Irvine,  Wilson,  308 
Isnogle,    Walter    H.,    181,    249, 

378 
Izor,  Estelle  Peel,  229,  238,  240, 
378,  431 

Jackson,  Chic,  378 
Jacoby,  Helen  Eaton,  378 
Jameson,  Henry  B.,  219 
Jameson,  Samilla  L.,  378 
Jefferson,  Joseph,  70 


Jennings,  Jonathan,  9,  10 
Johnson,  Dr.   L.   R.,  53 
Johnson,  Virginia,  119 
Johnston,  Ella  Bond,  269,  276- 

278 
Johnston,  Winant  P.,  378 
Joiner,    Harvey,   378 
Jones,   James    W.,    10 
Jordan,  David  Starr,  27,  28 
Judah,  Mrs.  Mary  Sanders,  219 
Judah,  Harriet  Branden,  378 
Judah,  Samuel  P.,   12 

Keene,  Dr.  T.  Victor,  22,  181 
Kendall,   Calvin   N.,  264 
Keppler,  Max,  379 
Ketcham,  Janie,  119 
Ketcham,  Roy  M.,  249,  379 
Ketcham,    Sue,    119,    220,    230- 

234,  379,  431 
Kessler,  George,  423 
Kidder,  Idelle,  379 
Kiefer,  L.  A.,  119 

King,  Emma  B.,  182,  229,  231, 

235,  236,  273,  379 

King,  Martha  Feller,  240,  431 
King,  Myra  Parks,  379 
Kinney,  Belle  Marshall,  421 
Kirkland,    India   Underbill,   91, 

379 
Knecht,  Karl  Kae,  380 
Knight,  Ridgeway,  113 
Knowlton,  Lovina,  240,  380 
Koempel,  Henry,  65 
Kohlmann,    Rena    Tucker,   342, 

380,  423,  431 
Kotz,  Daniel,  252,  380,  432 
Krafft,  Carl  R.,  308 
Krementz,  Joseph,  380 
Kurtz,  Wilbur  G.,  380 

Lacy,  Bertha  J.,  380 
Lamb,  Robert,  70 
Lambdin,  James  R.,  13 
Landis,  Cora  C,  340 
Larimer,  Harry,  380 
Larsh,  Theodora,  252,  380 


443 


INDEX 


Lasselle,  Hyacinth,  10 
Lauderbeck,  Walter  S.,  380 
Lauter,  Flora,  242,  252,  380,  432 
Lawson,  Katherine  S.,  381 
Leeds,  Warner  M.,  272 
Leich,  Chester,  381 
Lesueur,  Charles  A.,  24-31,  381 
Levering,  Albert,  381 
Lieber's  Gallery,  70,  72,  84,  107 
Lieber,  Herman,  83 
Lietz,  Theodore,  15,  145 
Lincoln,    Abraham,    75-77,    102, 

106 
Loehr,  Grace  Pearl,  242 
Logsdon,  Margaret,  119,  381 
Love,  John  W.,  74,  113-127,  172, 

173,  175,  381,  432 
Low,  Will  H.,  113,  117 
Luddington,  Mrs.,  381 
Lutz,  Lewis  Cass,  53-55,  381 
Lyon,  Alfred  B.,  239,  381 
Lyon,  Lyman,  23 

Maclure,  William,  18,  32 
McBride,  Robert,  207 
McCann,  Rebecca,  381 
MacClure,  Colbert  A.,  382 
MacGinnis,  Henry  R.,  252,  382 
McCormick,  Howard,  382,  432 
McCuUoch,  John  R.,  301 
McCutcheon,  John  T.,  382,  432 
McDonnall,  Angus  P.,  308 
McDonald,  Charles  L.,  230 
McDonald,  Mary,  382 
McKain,  A.  A.,  193,  424 
McMicken  School  of  Design,  53, 

55,  56,  57,  74 
McMillan,  Laura  L.,  382 
McNary,  Bell,  340 
Mahoney,  John  H.,  327-330,  382, 

418,  420,  422,  423 
Makielski,    Leon    A.,    229,    295- 

297,  383 
Many,   Alexis  B.,  252,  383 
Matter,  Milton,  226 
Matzen,  Herman,  420 
Matzka,  Albert,  252,  383 


Maxedon,  Mary  D.,  340 
Maximilian,    Alexander    Philip, 

29,  30 
Mears,  Dr.  George  W.,  65,  74 
Meredith,  Gen.   Soloman,  328 
Meredith,  Virginia  C,  340 
Meredith,  W.  M.,  383 
Mersmann,   Ferdinand,   118 
Metzner,  August,  156 
Meyenberg,  John  C,  423,  383 
Miller,  Gustav,  383 
Miller,  John  R.,  383 
Milleson,  Hollis  E.,  384 
Miller,  William,  64,  65,  69 
Millikan,  Rhoda  H.,  384 
Milroy,  Henry  C,  384 
Millet,  Jean  Francois,  125 
Mitgarden,  M.,  119 
Moore,  Mrs.  Mary  Sharpe,  219 
Morgan,  Lynn  T.,  249,  384 
Morlan,  Dorothy,  182,  229,  237, 

242,  384 
Morris,  Elwood,  384 
Morrison,  George,  384 
Morrison,  Samuel,  15-17 
Morton,  Oliver  P.,  72,  91,  324 
Mosler,  Henry,  75,  113,  117,  271 
Mote,  Alden,  276,  384 
Mote,  Marcus,  384 
Mueller,  Gerhardt,  65 
Mueller,  Lewis,  249,  385 
Mulligan,  Charles  J.,  343 
Mulvany,  John,  134 
Murphy,  Dr.  Edward,  33 
Murphy,  Ida  M.,  119 

Neubacher,  Margaret  S.,  385 
Newman,    Anna    M.,    276,    385, 

432 
Niblack,  Eliza,  277 
Nicoli,  Charles,  118,  131,  222 
Nicholson,  Elizabeth,  74,  75,  119, 

385 
Nicholson,  Mary,  264 
Nickum,  Charles  W.,  75-77,  385 
Niehaus,  Charles  Henry,  421 
Niemeyer,  John  H.,  91,  385 


4<4<4 


INDEX 


Noble,  Thomas  S.,  54,  56,  57,  75 
Nordyke,  M.  S.,  276,  385 
Northcote,  James,  20 
Nowland,  Mrs.  J.  H.  B.,  80 

O'Conner,  Andrew,  418,  422 
O'Donovan,  W.  R.,  423 
Oliver,  Fred  C,  386 
Orth,  Godlove  S.,  49 
Overbeck,  Elizabeth  G.,  302,  386, 

410,  432 
Overbeck,  Hannah  B.,  302,  386, 

410,  432 
Overbeck,  Margaret,  386 
Overbeck,    Mary    F.,    302,    386, 

410,  432 
Owen,  Ernest  Dale,  340 
Owen,  Richard,  27 
Owen,  Robert  Dale,  19,  34,  339, 

340 

Palmatary,  J.  T.,  65 
Palmer,  H.  B.,  219 
Parks,   Richard   H.,  421 
Patterson,  Mrs.   Samuel,  80 
Patterson,  William,  7 
Patterson,  Elizabeth,  7 
Payne,  George  H.,  347 
Peake,  Harvey,  386 
Peckham,  Louis,  10,  387 
Peale,  Rembrandt,  79 
Pearce,  Fred  E.,  387 
Pentzer,  Orrin  W.,  386 
Pepper,  Abel  C,  40,  41,  42 
Pepper,  Claude,  41 
Perkins,  Lucy  Fitch,  387,  432 
Perkins,  Susan  E.  H.,  340 
Phoenix,    Frank,   308 
Pink,  William  G.,  387 
Plaschke,  Paul  A.,  316,  387 
Poindexter,  J.  T.,  13 
Policy,  Frederick,  249,  308,  387 
Pope,  Dr.  Abner,  89 
Posey,  Thomas,  74 
Powell,  Schuyler,  423 
Powers,    Hiram,    83,    146,    387, 
433 


Prang,  Louis,  193 

Prasuhn,  John  G.,  342,  343,  387, 

433 
Pratt,  Mrs.  Mary  A.,  219 
Preston,  Mrs.  N.  A.,  387 
Pullman,  Margaret  McD.,  388 
Purdue,  John,  49 

Randall,  Ernest  D.,  388 
Randall,  Paul  A.,  249,  388 
Rapp,  Frederick,  26 
Rapp,  George,  24,  34 
Read,  T.  Buchanan,  72 
Ream,  Laura  N.,  68 
Reed,  Daniel  G.,  271 
Reed,  Louis  Henri,  68,  388 
Reed,  Peter  Fishe,  84,  104-108, 

388,  '433 

Reeves,  Maude  Cooper,  388 
Reiffel,  Charles,  388 
Remy,  Charles  F.,  207 
Rhinde,  J.  Massey,  421 
Reser,  Edward  N.,  388 
Rich,  George,  389 
Richards,  Louis,  389 
Richards,  389 
Richards,    Myra    R.,    342,    389, 

419,  422,  433 
Richards,  Samuel,  143-155,  156, 

389,  433 
Richardson,  F.  A.,  82 
Riddle,  Mrs.  Jesse  W.,  277 
Riess,  William  J.,  389 

Riley,    James    Whitcomb,    123, 

154-155,    158,    200,    213,    308, 

342 
Robertson,     Frances     Haberly, 

334 
Robinson,    Mary    Y.,    231,   236, 

390 
Rogers,  Bruce,  192,  390,  433 
Rogers,  M.  G.,  60 
Rooker,  Samuel  S.,  58,  59 
Ross,    Frederick   W.,   252,   390, 

433 
Root,  Nellie,  390 
Rothlisberger,  Jacob,  390 


445 


INDEX 


Rowley,  Fayette,  390 

Ruby,   Edna  B.,  240,  304,  305, 

390 
Rudisill,  Margaret,  90,  391 
Rush,  Olive,  252,  253,  391,  433 
Russell,  James  L.,  391 

Saint  Gaudens,  Augustus,  330, 

332,  333 
Sangernebo,  Alexander,  239,  391 
Sangernebo,  Mrs.  Emma,  392 
Saunders,  Henry  M.,  392,  420 
Savage,  Eugene,  392 
Say,  Mrs.  Thomas,  23 
Schilling,  Alexander,  230 
Schmitz,  Bruno,  321 
Schultz,  George  F.,  308 
Schwarz,     Rudolph,    239,    319- 

327,  341,   392,   418,   419,   420, 

421,  423,  424 
Scott,  Alice  Benton,  240 
Scott,    Frank    Edwin,    124-131, 

392,  434 
Scott,  William  E.,  181,  249,  393, 

434 
Scudder,   Janet,   272,   312,  331, 

334-339,  393,  434 
Seaford,  John,  273 
Seegmiller,  Margaret,  240 
Seegmiller,     Wilhelmina,     257- 

267,  393,  434 
Selleck,    Roda,    236,    240,    394, 

434 
Sewell,  May  Wright,  218,  220, 

227,  231 
Sharpe,  Belle  M.,  219 
Sharpe,  Julia  G.,  119,  237,  241, 

340,  394,  436 
Sheldon,  Charles  M.,  394 
Siiirley,  John  Joel,  394 
Shirlaw,  Walter,   121,  136,  231, 

272 
Shover,  Edna  Mann,  394 
Shover,  Lucy  M.,  394 
Shulz,    Ada    Walter,    308,    311, 

394 
Shulz,  Adolph,  307-309,  394 


Sickler,  Edward  E.,  395 
Sies,  Walter,  395 
Simmons,  Franklin,  91,  420 
Sims,  Lydia  Hall,  395 
Sims,  Ralph  W.,  395 
Sinks,  Alois  E.,  103,  119,  395 
Sitzman,  Edward  R.,  249,  395 
Smith,  Helen  Stubbs,  395 
Smith,  Oliver  H.,  80 
Snapp,  Frank,  395 
Snyder,  William  McK.,  395 
Soldiers'  &  Sailors'  Monument, 

122,  321,  326,  419,  420,  434 
Somes,  Henry,  11,  12 
Sorensen,    Clara    B.     Leonard, 

341,  395,  422,  423,  435 
Soule,  Clara,  77 
Sparks,  Mrs.  MoUie,  395,  411 
Spread,  Henry  C,  15,  396 
Stair,  Mrs.  Ida  M.,  396 
Staley,  Clarence  W.,  396 
Stanley,  Thomas,  242 
Stark,  Otto,  156,  159,  182,  197- 

208,   223,   227,   239,    258,   396, 

435 
Steele,  Brandt  T.,  239,  396,  435 
Steele,  Mrs.  Helen  McKay,  239, 

241,  396,  434 
Steele,   T.   C,   13,  22,   119,   156, 

159,  160,  166,  175,  181,  208-217, 

223,   227,   234,   238,   271,   396, 

417,  435 
Steele,  Mrs.  T.  C,  217,  240 
Stein,  Evaleen,  303,  304,  397 
Stein,  John,  49 
Stemm,  Ruth,  397 
Stephens,  397 

Stevens,  Will  Henry,  315,  397 
Stevens,  Mrs.  Will  Henry,  316, 

397 
Stevenson,  Robert  A.  M.,  113 
Stiffler,  Iva  Haverstock,  398 
St.  John,  Lola  Alberta,  397 
Strauss,  G.  Vernon,  398 
Stuart,  Gilbert,  82 
Study,  Herbert  S.,  398 
Sutter,  John  A.,  67,  69 


446 


INDEX 


Swan,  Lillian   G.,   340 
Swope,  H.  Vance,  252,  398,  436 
Symons,  Gardner,  215 
Symonds,  John  Addington,  151, 
153 

Taflinger,  Elmer,  252,  398 
Taft,  Lorado,  160,  311,  335,  343, 

421,  423 
Taggart,    Lucy    M.,    229,    237, 

242,  398 
Tarkington,  Hautie,  119 
Taylor,  Bayard,  115 
Taylor,  Myrtle  L.,  398 
Terrell,  R.,  60 
Tester,  Peter,  14,  398 
Tharp,   Charles,  242 
Thomkins,  Frank   H.,  215 
Thomer,  Dr.  M.,  240 
Tice,  Temp,  237,  239-241,  398 
Tlebout,  Cornelius,  23 
Todd,  Marie  C,  399 
Tolan,  Brentwood  S.,  419 
Trobaugh,  Roy,  229,  399 
Turman,  William  T.,  311,  399, 

411 
Turrell,  Anna,  226 

Ullman,  Alice  Woods,  399 
Upchurch,  Mary  B.,  399 

Vanderpoel,      John      H.,      230, 

272 
Van  Ingen,  W.  B.,  421 
Van  Pelt,  Dale,  399 
Vance,  Fred  N.,  399 
Vance,  George,  399 
Vawter,  William,  308,  399,  436 
Volland,  Lillian,  400 
Vonnegut,  Bernard,  400 
Von  Smith,  11,  400 
Voris,  Millie  Roesgen,  400 

Wagenhals,  Katharine  H.,  302, 

400 
Wagner,  Frank  H.,  401 
Wagner,  Mary  North,  401 


Walker,  Mrs.   E.,  83 

Walker,  Ferdinand  G.,  317,  401, 

436 
Walker,  James,  23 
Walker,  T.  Dart,  401 
Wallace,  David,  80,  99 
Wallace,  John  M.,  83 
Wallace,  Gen.  Lew,  88,  98-103, 

119 
Walters,  William  T.,  189,  190 
Warren,  George,  32 
Warren,   Josiah,  32 
Warder,  John  W.,  118 
Washburn,  Mary,  341,  401 
Waugh,  Henry  M.,  93-98 
Weaver,   Mrs.    Emma   M.,  314, 

401 
Weber,    Rosa,   401 
Webber,  T.  C,  56 
Weisenburger,  Mrs.  Sadie,  237, 

241,  401 
Weir,  J.  Alden,  117 
Wessel,  Herman  H.,  316,  402 
Westerfield,  J.  Mont,  402 
Weyl,  Lillian,  240,  402 
Wheeler,   Clifton   A.,    181,   227, 

239,   242-244,  402,  436 
Wheeler,  Mrs.  Clifton  A.,  243 
Whiffin,  Mrs.  W.   B.,  83 
White,  Charles  A.,  14 
White,  Esther  G.,  340 
White,  Mrs.  Julia  Cox,  90 
Whitcomb,  James,  68,   88 
Whitcomb,  Mrs.  J.  G.,  88 
Whiting,  Frederick  Allen,  226 
Whitridge,  Thomas  W.,  63,  64, 

69,  402,  436 
Wildhack,  Robert  J.,  402 
Williams,   Charles    Sneed,   403 
Williams,  Gaar,  403 
Williams,  J.  Insco,  50,  403 
Williams,  J.  N.,  50 
Williams,  Martha  A.,  403 
Williams,    Walter     Reed,    240, 

341,  403 
Williamson,  Harry  G.,  231,  252, 

403 


447 


INDEX 

Wilson,  Estol,  403  Woy,  Leota,  404 

Wilson,  Lucy  A.,  237,  241,  403  Wright,  Charles  H.,  404 

Wilson,  Nelson  D.,  403  Wright,  Fred  W.,  404 

Wimmer,  Mrs.  Sue  A.,  404  Wyant,     Alexander,     109,     111, 

Winn,   Alice    C,   303,  404  287 

Winter,     George,     38-50,     404,  Wylie,  Samuel  B.,  252 

436 

Witt,  John  Harrison,  404  Yale    University,   91 

Wolif,  Carrie,  119,  156  Yandes,   Annie,    119 

Wood,  Harry  E.,  240  Yohn,  Frederick,  241,  437 
Wood,  William  A.,  207 

Woodward,    Wilbur   W.,  55-57,  Zaring,  Louise  A.,  314,  405,  437 

404  Zeitner,  Richard,  419 

Woodworth,  Mrs.  C.  B.,  277  Zimmer,  Clare  Robin,  405 

Woollen,  Evans,  227  Zolnay,  George  Julian,  239 


448 


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